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Q ’I 0.....ultc I .‘.. "'7' 9' ‘ I l v. . . . . .‘ _ ., I :Iv‘ . v . ‘v | I I ‘,‘ ‘ : W n . i . .... ‘ . ' ' 1 II . II . 1.. .. o. . “ . I III - I.....,..o.4 ...- p..- I .., .'9.-»'uol .. -. .... .. .5.....o.'“--u..t--I3~o L‘ -,A .‘..l.‘;.;._., "‘ .--L ., WWW WWNW 31293 01079 9140 This is to certify that the thesis entitled "The Direction of Georg Kaiser's From.Morn to Midnight and an analysis of the Staging Problems involved in Presenting an Expressionistic Drama." presented by Joan Hackett has been accepted towards fulfillment of the requirements for FHA. degree in Speech MM Major professor Date June 7th, 1951 *: r; m ' 4 " "‘ ":35! ‘ " ~'. 3’. ‘: *rdt‘; .J;;-r}>:‘:|‘.: ,.:;‘:’ 7’ fit"? _ ‘31."-- ‘13? .1" ."'n~ _"'. L'X‘, ;,$.R§v ‘ s 4‘ F." —d '— v—Wp‘v‘, 4 ‘ 'q: . w.— - -'-—‘- w— 7*”.— \ "T 2‘" .__.- ___.~ ' a "J—.. THE DIRECTION OF GEORG KAISER'S FROM mRN TCLEIDNIGHI AND AN ANALYST§ or THE STAGING PROBLEMS INVOLVED IN PRESENTING LN mRESSIoNIs'rIG DRAMA BY Joan Hacgett A THESIS Submitted to the School of Graduate Studies of Michigan State College of Agriculture and Applied Science in partial fulfillment of the requirunmts for the degree of MASTER OF ARES Department of Speech, Dramatics, and Radio Education 1951 THESIS ACKNOWIBDGMENT I wish to express my sincere thanks to those who contributed directly to the completion of this thesis; to the cast and crew of From Mom to Midnight for their long hours of hard work, to Mr. Rnlphfizcknll for his co-operation and assistance on the whole pro- duction, and to Mr. Stuart Chenoweth for his excellent advice and help on the production and the writing of the thOBiSe *******¢** *****#** **t*¢* ##1## *1! * TABLE OF CONTENTS CHAPTER I II III IV V HPP&SIOIJISIHOO0.00....OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO GEORGE KAISER (1878-1945)....OOOOOOOOOOOOOOOOOOOOOOOOOOOOO MTALYSIS OF TIiE PLAY0.0......0.00.000000000000000000000000 PRODLTCTION MIALYSISOOOOO..00.00....OOOOOOOOIOOOOOOOOOOOOO. Pm I: STAGINGOOOOOOOOOOOOOOOOOOOOOOOOOO0000...... PALM. II: ACTIDTGOOOOOOOOOOOOOOOOOOOOOOOOOCOOOOOOOOOOO Pm III: SCRIPI' MIGESOOOOOOOOOOOOOOOOOOOOOOOOOOOOO PROI'PI BOOICOOO...0.00.0.0...OOOOOOOOOOOO0.0.00.00.00.00... APPENDIX: PRODUCTION NOTESeeeeeeeeeoeeeeeeeeeeeeeeeseeoeeoeeoeee SCENE PLOT - Ground Plans and Photographs.. . ... ...... STACKING AND SIIIBTING PmTOOOOOOOOOOOOOOOOOOOOOOOOOOO LIGHT PLAIIOOO0.0.0.0....0......OOOOOOOOOOOOOOOOOOOOOC P1{OPEMY PmTOOOOOQDOOOOOOOOOOOOOOOOOOOOOOOO000...... CWCTER PmTOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO COSTTJ’BE PLOTOOOOOOOOOOOOOOOOOOOOOOOOOOOO...0.00.00... IJIAKE‘UP PI'OTOOOOOOOOOO000......OOOOOOOOIOOOCOOOOOOOOO BMSIC PmTOOOOOOOOOOOOOOOOOOIOOOOO0......00.0.0000... BIBIIIOGRAPIIY0.000COOOOOOOOOIIOOOOO0.0000000000000000000. 00.00.... PLAYS BY GEORG KAISER-.00.00000000000IOOOOOO0.0.00.0.0...00.0.0... PAC E 1 10 15 28 28 46 54 56 105 116 118 121 122 128 130 134 137 138 141 CHAPTER I EXPRESSION SM CHAPTER I EXPRESSIONI SM The analysis of the specific problems involved in staging Georg Kaiser's From Mom to Midnight requires an understanding of expression- ism as a dramatic style. “Expressionism", as a term was originated as an antonyn for "Impressionism" by the French painters whose style differed from that of Manet and Monet.1 The term came to be used by all art forms to describe a style #11011 was primarily a revolt from the stuffy naturalisn and romanticisn of the Nineteenth century. Expressionism. as a dramatic style is the attupt on the part of the playwright to present directly the mental and notional activity within an individual or a group by using that subjective activity as an end product. It is this internal action which is dramtized, not the mtward or objective action which is a result of mental and notional activity.2 The espressionistic play is opposed to realism or naturalisn and inpressionism. A realistic play presents to its audimce the absolute and objective facts of life with as such verisimilitude as it can. Its concern is for the outside world with all its details. Impressionism shows life as reflected by the author's mood or by the whims of his lJohn Gassner, Masters of the Drama (New York: Dover Publications, 1945), p. 435. 2m Irene Miller, The Independent heatre in bro I (New York: Rey Long ani Richard R. Smith, Inc., 193 , p. 4. fancy and it always mintains a certain dominant objectivity. Express- ionism throws out objective reality in order to describe truth as seen by the intellect of the inner artist. Objective action is used only in so far as it will aid in expressing what the subjective material is. Expressionism is an attempt to find a means of representing in visible forms for the stage the dramtic mterial inch finds no adequate and clear expression in speech and action.3 The impression of actuality is unimportant, but the expression of the inner man, the unconscious, and the dream world are goals of the upressionistic play. Subjectivity and a representation of the individual ego are its main characteristics. It is an attemt to seize the essmce of life without its content. To achieve these aims, expressionism mast have a terrific impact to nice it violently aggressive so the audience will be aroused to an understanding of and a sympatlw with its ideas. 1 In expressionism there is a ease of anxiety, soul searching, crisis, insufficiency, and sometimes hysteria. These qualities are due to the period which helped produce expressionism. Europe, in the beginning of the Twentieth century, was filled with tensions between nations and classes within nations because of the growth of industrialism, materialism, and a lust for power. Contanpcrary society seaned to be rushing to its des- , truction. A group of insurgent liberals developed a movement with standards of abstract justice and good will in protest against existing conditions. Their ideals were the impulse that helped produce expression- ism in the art fields. 3Kenneth Thorpe Rowe, Write That Play (New York: Funk and Wagnalls Company, 1939), p. 358. The literary forerunners of expressionism were Ibsen, Maeterlinck, Hauptman, and Strindberg, Andreyev, and Eyreinov. Shortly after 1900, Leonid Andreyev criticised naturalism and romanticism as unsuited for expressing the experiences of the intellect which he felt were the most significant in modern life. His new protagonist was the intellect. Andreyev's hero in modern living was the thought that went into humanity‘s sufferings, joys, and struggles. He used make, allegorical characters, and action to dramatize the conflicts of the intellect. Strindberg is called the originator of expressionism by many critics. Eigene O'Neill, to derived his style more or less directly from Strind- berg said this of him in connection with expressionism, "...all that is enduring in what we loosely call "Expressionism", all that is artistically valid and sound theatre-can be clearly traced back through Wedekind to Strindberg's The Dream P1_ay, There Are Crimes and Crimes, The Spock 4 I! m, etc. The expressionistic form first became firmly established in Gemny after World War I. In 1910 there had been a group inch made expression- ism apparent, but the style did not become popular until the post-war era. The disaster of the war and the chaos of Germany after the war offered fertile ground for the growth of the expressionistic technique in theatre.6 4Barrett H. Clark and George Freedley, A Histo of Modern Drama (New Yorks D. Appleton-Century Company, Inc., 1947;, p. 33. 5Mordecai Gorelik, Nat Theatres for Old (New York: Samuel French, 1947), De 25°e “a Wedekind was the forerunner of expressionism in Germany. His taste as for the mcabre and sensational. His main themes were uphasised by a. dramatic violence and dynamic quality. The characters and situa- tions he used existed only partially in a real world. There were alle- gorical representations mixed with melodrama and philosophy in his plays. Walter Hasenclever was the first completely expressionistic playwright in Germny. He wrote and produced the prototype of modern expressionist drama. He used staccato dialogue, rapidly shifting comes, and extrav- agant situations. His favorite themes were anti-war and the "father-son" conflict.6 The structure and subject mtter of the German expressionistic plays followed the pattern of revolt. First, the playwrights abandoned the well-knit plot. They adopted a technique from the "Storm und Drang" period of writing in which there was a series of independently con- structed short scenes with each scene having a function of its own.7 They justified this technique on the basis that we experience life in snatches rather than neatly arranged acts. This multiplication of short scenes caused the plots to resenble the loose construction of Elizabethan drama. Within the limits of these rapid diversified scenes the playwright could do anything he wished. He could mks an appeal through motion, speech, and technical means. He could deal with many aspects, phases, and planes of the same action. In his use of several planes; physical, 6618811615 OEe Cite, Pe 490s 7ank W. Chandler, Modern Continental Playwrights (New York: Harper and Brothers, 1931,, p. 38 . spiritual, and mechanical, and by using several actions unfolding at the same time he could create a unified impression through a synchroni- zation of these slants. The plays could be as long or as short as the playwright detemined. His play might be a fragment or a trilogy. “He unploys the play as an expression of a thousand tangled motives on many planes of reality and dream."8 The plot is devised to convey some abstract idea, stream of consciousness, or some mood or fancy of the author's. There is no con- cern for the probability or possibility ofjthe events used. The con- struction is loose, chaotic, and kaleidoscopic because of the subjective nature of the thought and emotion the writer wished to get across. The subjective had to be presented dramatically so that the audience could follow what was going on. In order to present his theme in concrete terms the playwright used many devices in his plot which would cbjectify the mterial for the stage. He used melodramatic and picturesque execu- tion, allegory, exaggerated theatricality, abandonment of detail, styli- sation and dreams. "Expressionist drama is the most frankly theatrical and non-illusionistic of the dramtic forms. It frankly arranges .11 events and modifies character, dialog, and background in order to achieve the most expressive dramatic form for the contact and meaning of the phyouQ d: BThomas H. Dickinson, An Outline of Contemporary Dram (Boston: Houghton Mifflin Company, 1927), p. 190. 9John Gassner, Producing the Play (New York: The Dryden Press, Publishers, 1941), p. 64. The overall expressionistic philosophy was diversified and so was the expressionist philosophy found in theatre. In the theatre there were two streams of thought. One was advocated by the Expressionists Proper, the other by the Activists. The first group carried on the romantic lyricism of Wagner. They looked back with nostalgia to the past. Their plays were passionate, violent, and hysterical. They had a mood of despair mingled with blind hope. The Activists were realistic and hard boiled in their reaction to the world. They attempted to find some constructive my out of the dilemma which they and their audience faced. The main thought of the Activists centered upon a belief that the imediate need of mankind was a rationally ordered society based on the Christian ideal of social justice. The two groups were really after the same thing. But the way to attain the goal and the reason for attaining it were the points at which they differed. They both indulged in the flight from everyday reality into an ideal world and both had the same dislike of intellectualism. Both were against the bourgeois view of life. The objection of the Acti- vist group was that the bourgeois couldn't see beyond his own narrow, selfish interest, while the other group condemned him for his shallow utilitarian rationalism and soulessness. In the matter .of the enslave- ment of modern Inn by the machine the Exprppsionists Proper wanted to solve the problem by abolishing the machine. The Activists accepted the fact that they were living in a mechanized age and their salvation for modern man was that men met lean to control the machine. Both agreed 0 that the abolishmmt of war would be a good thing. The Activists wanted peace and universal brotherhood for social and political reasons. It was their belief that if there were permanent world“ peace and inter- nationalism, all men would be happy and that Utopia, which was their ultimate dream, would finally come. The Expressionists Proper wanted universal peace and brotherhood because they felt it would be spiritually invoking and bring men nearer to God.:lo Out of the theories of these two groups came the basic thought for the plays of the expressionist writers. Pacificism, anti-bourgeoisism, and de-mechanization of the individual were three of the foremost theses of the expressionist writers. Many of the plays had a theme of the re- generation of the whole hum race through a creation of a new spirit of purity and sincerity. The writers felt human life met be stripped of all externalities, artificial barriers, conventions, and shame until only the essentials rennin. They believed that man is consumed by the thing he is; he becomes that thing and is no longer an individual. A great deal of the subject mtter is drawn from Freudian psycho- analysis; the dual personality, sex repression, and the Oedipus complex are used again and again. The "father versus son" conflict is one of the most popular situations because it was applicable to the symbolise- tion of the revolutionary feeling prevalent in the generation. This situation is used to represmt the revolt against war mongering and big industry.“ Another favorite subject was the retum of a corpse from 103. Steinhauer, Das Deutsche Drama 1880-1933 (New York: W. W. Norton and Company, Inc., I538}, Vol. 1., pp. 19-20. 1I'Clar‘k and Freedley, op. cit., p. 104. the grave. Variations on the returned corpse idea were ghosts and half corpses who had returned to find the world in a state of chaos.121 In contrast to the hysterical symbolism of the men who liked ghosts and complexes as subject matter, the Expressionists Proper wrote in terms of myths and abstract qualities as in the old moralities. In.this same group the writers used a great deal of mysticism. Other subjects and themes out of which the plays were made were: life of terror and dread, psychic significance, symbols, turmoil of inner life and the conscience. Pessimism is the dominant note of the plays. There is a restless challenging quality in.them. The world, as seen in.many expressionistic plays is distorted because of its subjective nature. The objective and subjective are mingled freely. In the preface to his Dream Play Strindberg described the new drama as being a form in which anything may happen because time and space are gone, leaving only a medley of memories, fancies, and extravagances. The form.is hampered hy no law'because it is derived from.but one consciousness,'that of the dreamer who knows no secrets, or congruities or laws.13 I The overall rhythm.of the plays is the binding force of all the ‘varied elements put into them. It is a result of the dynamic, chaotic, and hysterical mood created by the writers. Expressionism is an orches- tration of chaos. The many shiftings of scene make the rhythm rapid, twisted, and jerky. The whole effect is that of musical counterpoint where one melody is attended by several related but independent:melodies. .lzGassner, Producing the Play, p. 485. 13 Dickinson, op. cit., p. 687. The plays move forward with violent velocity which is intent upon the delivery of "direct action in art-«the forthright naked impulse de- livered without intermediaries, straight from the imagination to the outer world---"14 The play which typifies the thought and form.of axpressionimm is Kaiser's From Mom to lucinight.15 The following discussion of Georg Kaiser's ideas and techniques will show’in specific terms what an expressionistic author attempted to do in translating his subjective material into a dramatic form. 14 l 5Rowe, op. cit., p. 361. Gorelik, loo. cit. CHAPTER II GEORG KAISER (1373-1945) CHAPTER II GEORG KAISER (1878-1945) Georg Kaiser was born in Gel-my and lived there all his life, with the exception of three years spent in the Argentine in his Father's business. While there he became ill and returned home via Spain and Italy. After his return he started writing at the age of twmty-five. The first play he had published was Schoolmaster Kliest written in 1903. The greatest influence on his writing was the hectic era he lived through. The bulk of his writing appeared between 1914 and 1926, the period of political chaos in Germany and the period in which expressionp ism became so popular a style in theatre. All his work is not in the expressionist style. In a period of twelve years he wrote all types of plays including: comedy, grotesque, tragi-comedy, symbolism, and ex- pressionism.1 It was in the expressionist style that he made his great- est success. Kaiser thought of himself as an apostle of energy. To him: Energy is the driving force of the world. 'Without energy there is nothing. Sentiment, pity, and romance are a refuge of the weak who must inevitably go down. men are brutal, self- seeking, egotistical, heartless, energetic. It is only through willpower that injustice and stupidity can be done away with. He was a fatalist and admitted that he was no more than the blind lJohn Gassner, Masters of the Drama (New York: Dover Publications, 1945), Pe 487e 2Mordecai Gorelik, New Theatres for Old (New York: Samuel Frmch, 1947), p. 250. 10 11 force of that same energy that has made modern civilisation what it is. 3 He brushed He felt that he was as relentless and inhuman as a machine. aside the smtiments and institutions of a badly organised world. In his writing he attempted to meet the physical energ of the world with a stronger spiritual energy which was swift and consuming. He said that, “Not until we forget our old notions of forgiveness and pity will it be possible to found a new order."4 He disapproved of capitalism and industrialism. He argued that wealth stifles love and that money is definitely the root of all evil. Those the profit from the system are guilty of oppressing the poor. He felt that each individual is responsible for the well being of all and that upon each person there is the weight of the responsibility for the wrongs of the social order. Each person according to Kaiser met share the guilt of all in a world which is interdependent in its parts. Al- though he placed this responsibility upon everyone in the world, his sympathies were weighted on the side of the poor and the oppressed. He wanted some sort of social solidarity which would assert faith in the spirit of mm as opposed to faith in more wealth or mchinery.5 He was an erratic idealist who disdained and condemned the modern industrial order. In his plays where different facets of his rebellious 3Huntley Carter, The New §pirit in the European Theatre, 1914-1924 (London: Benn, 1925), p. 218. 4Montrose J. Moses, Dramas of Modernism (Boston: Little, Brown, and Company, 1939), p. 135. 5Frank W. Chandler, Modern Continental Playwrights (New York: Harper and Brothers, lQSlX p. 419. 12 philosophy are displayed there is a pessimistic note and no assertion of faith in.anything except the essential spirit of man. This spirit is so stifled by existing conditions that its only solution to any of the prob- lems presented by Kaiser is death. men and women.to Kaiser were impotent, digestive tubes labelled ”materialist”, “Idealist", "Socialist”, ”Revolu- tionary”, etc.6 His thought was influenced by Nietzsche and Schopenhauer, but he was more optimistic thanthey.7 He was also an admirer of Plato and derived some philosophy from.him. He said of Plato’s writing, "Plato's drama is superior to all others. Speech and answer follow'one another: each sentence is loaded with new ideas...at the ad the entire soul stands re- vealed as by the Hand of God."8 Kaiser loaded his sentences or phrases with meaning and his main purpose in his plays seems to be a revelation of man's spiritual essence. Kaiser thought that an awakening of this spirit, this basic element in man would help save the world from chaos and disaster. Out of this gmeral dark pessimistic theory came the thought for his expressionistic plays. His main purpose in.writing the plays was to make his audience think about these doctrines. His themes were not so new, but his militant attitude helped in determining his form.of writing. The expressionistic plays From Morn to Midnight, The Coral, Gas I and Gas II are considered his most worthvdiile contributions to the theatre. 6Carter, op. cit., p. 240. 7Chandler, OEe Cite, pe 407e 8Moses, loc . cit. 13 His upressionist style was derived more or less directly from Strindberg. Formal expressionism, which originated in Wedekind's passion for abstrac- tion, finds complete interpretation in Kaiser's cubistic construction. It is a precise intellectual type of expressionism that he writes. His characters are not interesting in themselves. An audience ad- mits their reality, but has no desire to know than. They are creatures of habit and desire filling a place in the schane of the dramatist. A character in one of Kaiser's plays is like a dynamo, a perfect piece of mechanism functioning in the play. Within his character there is an in- tricate interplay of two forces. A naked, shameless instinct is on one side and on the other a sharp intellectual faculty which penetrates to the core of the subject without touching the heart of the emotional re- sponse. This method of characterizing makes the illumination of the char- acter for the audience intense and intermittant. The characters are name- less. They are usually governed by greed, swamped by catch words and phrases or superstition. Once in a while someone a little less blind will grope toward the light, and is promptly crucified. The main dramatic purpose of these one-dimensional characters is to point Kaiser's doctrines. The action of all his expressionistic plays is carried by types rather than individuals. No effort is nude to find motives for then. There is no analysis of their emotions. His characters are usually the mouthpieces for his ideals, raw emotions made visible, or a combination of the two. His plots are merely stories, sometimes allegorical, intended to convey a lesson or moral. In accordance with his philosophy he concen- trates on general problems, not concrete psychology, and yet the mind and spirit are all important as centers of energy. Most of the plots 14 show these cutters of energ being threatened by industry, money, war- fare, etc.9 The plots are schematic and symbolic. No attmnpt at realism is made. The outline of the story is stressed and stylized. Continuity is sacrificed for the speed technique. The scenes are short, unconnected units in themselves. Intmsity is sought by these short scenes following each other rapidly. It is this intensity and a surge of feeling rather than cause and effect sequence which is important to Kaiser. The scales are chronologically arranged with no attempt made at the type of organi- zation found in the well-made play. The dialogue which carries Kaiser's thought has tremendous energy and spirit. It is compressed and direct; concentrated into key words and phrases from which the thought is crystallized. In all the elements of the plays realistic details are suppressed. Reel experience is shattered into its elements and then reshaped into forms which are strongly stylized to enforce some concept. This loose, rapid form with little characterization, with stream of consciousness dialogue, a great deal of spectacle, and a whirling spasmodic cverall rhythm is merely a skeleton upon mich Kaiser's themes are hung. The plays as a whole in fem and content express the fever and fennent of Kaiser's mind and his reaction to the period in which he was living.10 9Barrett H. Clark and George Freedly A History of Drama (New York: D. Appleton-Century Company, Inc. , 1947), p. 167. 1°39. p.1nror 1131: of plays. CHAPTER III ANALYSIS OF THE PLAY CHAPTER III ANALYSIS OF THE PLAY The theme of From Morn to Midnight is that life as lived in the early Twentieth Century is futile. The argument of the play is divided into two actions. The external is that a bank Cashier steals money in order to have excitement and romance with a Lady he believes to be an adventuress. He discovers she is not. He spends one day in mental conflict over his theft and his life, then shoots himself. The internal action involves the mental con- flict within the Cashier. It is objectified by a series of short fantas- tic scenes in which the Cashier attempts to discover an ultimte aim in life. He finds the world empty, cheap, and tawdry; as a result his only solution is death. The Cashier is the embodiment of an idea and has no real motivations. His motivations and actions as a character aist only in the intellectual ideas and doctrines of the playwright. The Cashier is the main elemmt by which Kaiser objectifies his pessimistic view of unkind and his world. His character will be reflected in a discussion of the seven scenes because he is the pivotal point of each scene and the unifying factor in the play as a whole. The rest of the characters are merely stock figures. They are symbols of what the Cashier is thinking as well as symbols of types Kaiser is satirizing‘.1 ISee Appendix p. 128. 16 The overall structure of the play is episodic. Unity is gained by the main thane. An understanding of what Kaiser is trying to say is achieved after all seven scenes are added together. Each scene is a complete unit within itself. It has its own point of attack, build, slim, and resolution. There is a slight chain of continuity betwem Scenes One, Two, Three, and Four. Externally, Scenes Four, Five, Six, and Sevm are unrelated incidents. Scene Three is the transition between the semi-realism of One and Two to the unreality of Scenes Four, Five, and Six. These three scenes are all on the same level. Each builds to the same climactic height. The partial realism of Scenes One and Two is repeated in Scene Sevm. The climax here builds to a higher point than those of previous scenes. It comes very close to the end of the play and the resolution consists of one speech and the death of the Cashier. The purpose of the first scene is the exposition of the environment in which the Cashier works. The point of attack for both actions comes with the clim of the scene when the Cashier finally dares to look at the lady who he believes to be an adventuress and a swindler, and steals the monqr for her. This event starts the main external action of the Cashier's attempt at adventure and his decision after being rejected by the Lady to find out if life has anything to offer of any real value. The scene builds to the climax by the device of having the Cashier remain silent and busy with his routine counting until the slim. In addition to his silence, his reaction to the discussion of the Lady and the Lady herself helps build the scene. Two incidental events within the scene are symbolic in relation to Kaiser's feeling that the poor are ground down by big business and are 17 symbolic preparation for the Cashier's activity later in the play. The first incident is that between the Stout Gentleman and the Messenger Boy. The idea that the boy will one day abscond with money because of a ”pretty face" is mphasised in speeches by the Stout Gentlemen and the Bank Manager. This is a parallel action to what is about to happen to the Cashier. The other incident is that of the Bank Manager, the Muffled Gentleman, and the lady. The lefIOd Gentleman is just a repeti- tion of the Cashier's type, down trodden nan. His having to wait until the Lady is through withthe Bank Manager in order to get his tiny bit of money which is so terribly important to him points indirectly and obscurely to the! Cashier's later association with the lady and the ter- rific importance he gives to the Sixty-Thousand Marks. There is an ironic note at the end of the scene when‘ the letter comes proving that the lady wasn't a swindler. The Second AScene'furthers the external action. It reaches its climax, the Cashier's discovery that'the-' lady has a son, by a series of devices which put the Cashier into a state of emotional and mental frenzy. The first of these 13 the Son‘s picture which helps in exciting the Cashier sexually and in leading him to believe more firmly in the lady's supposed profession. The picture also serves as preparation for the last scene in which the Cashier decides that Man and Women together are the only worth- while value. The next device for prolonging as wellas building the scene is the type ofdialogue between the Cashier and the Lady. She is thinking and talking about her money and her son's picture. He is think- ing and talking about his theft and escape with the lady. They don't penetrate to each other's minds. The discovery of the Son's hat and coat 18 intensifies the rising action because it brings the thought of a rival to the Cashier and builds his «action to a very high pitch just before the climax. From the climax to his exit the Cashier is confused and shattered. The resolution of the scene in which the lady and the Son depart without giving another thought to the Cashier and his dilemnm is ironic as well as a presentation of a secondary idea of the author's. The idea that we are all responsible for one another's acts and yet refuse to accept our responsibility. The lady, the Bank Manager, and the Stout Gentleman are all responsible for the Cashier's theft, but none of them even dream of their responsibility. Each goes on with his own life with- out a thought of his or her part in the crime. In Some Three, the Cashier is the only person she appears on stage. He now realizes the deadly routine that his life has been. For the first time in his life he is actually living with every part of his being. “I'm keyed up to the highest pitchi" he days in a surpressed frenzy of intellectual activity. In his mind he rejects the Lady because he recog- nizes her as an illustion. It is because of her that he is now free and an individual with a mind and will of his own. The question of what to do with himself and the Sixty-Thousand Marks arises. He rejects as answers tranquillity, death, skeleton projection, and chaos. His decision is to search for further values before giving in to his pranonition of death. The scene is in continuity with the external action of Scene Two and leads into the internal action of the rmining four scenes. The 19 overall external action is suspended for the Cashier until he shoots himp self in Scene Seven. From.the end of Scene Three to almost the end of Scene Seven the action is entirely within the Cashier's mind. There is one point in.Scene‘Four (the Bank Manager's entrance) where the external action is resumed for a moment. The core of the play is in this scene. It reveals what has happened to the Cashier mentally in.the first two scenes and is preparation for what is going to happen.to him in the rest of the play. The climax of the scene comes with the appearance of the skeleton and the Cashier's re- jection of it. Technical devices used for the climax are the skeleton and chaos. The build for this climax is helped by chaos occurring just before the appearance of the skeleton. The some is resolved with the disappear- ance of the skeleton.and.the decision.of the Cashier to be off on his journey. In Scene Four the Cashier comes to his home to see if there is some ultimate value in.cosy home life and the relationship of loved ones. He is stripped of any illusion. He sees only boredom.and dull routine; an extension of the dullness at the bank. He rejects this and the sentimen- tality and grief over the Mother's death. He met go on. This scene more than any other’makes clear what the Cashier's previous life has been. The scene and the characterizations within it are deadly satire on everyday happy home life. His Mother's death and his refusal to let it affect him, or the event's inability to affect him, is the climactic point of the scene. This climax is built:by the sudden action in contrast to the monotony and deadly dullness which has existed up to this point. Kaiser relies on a 20 technical device, The Overture to ,Tannh'auser played on the piano, to set the monotonus rhythm of the entire scene. The Bank Manager's entrance at the end of the scene adds an ironic resolution to the episode. It also points up the fact that going back to the bank is mentally and emotionally impossible for the Cashier now because he is no longer the same person. The curtain scene adds to the bitter satire by having the wife express her misfortune in a cliche. At the bicycle races in Scene Five, the Cashier offers a prize of 1000 Marks for a race, but he isn't interested in racing. His reason for offering such a prize is to incite pure animal emotion and excitemmxt in the crowd. He watches the crowd rather than the race and describes their reaction. The crowd gets wilder and wilder until it becomes one seething mass of humanity bound together by passion. The Cashier decides that this pure passion and excitement are what counts. Then the prince enters his box. The artificially created excitement stops. Here, the Cashier dis- covers that passion as an and in itself is no good. This discovery is the climax of the scene and is built by the growing noise of the crowd as well as the Cashier's growing mtlnzsiasm. The rhythm of the scene in con- trast to Scene Four is terrifically fast. The sudden complete stop of this fast noisey activity helps to point the climax. The purpose of the scene is to show the Cashier in contrast to the meek husband-father in Scene Four. Here he has become a symbol ofthe man with money and power. It is also a satire on those who msh about in a constant search for money and power. The stewards' inane activity and the race itself, the pedalling around in a circle after fame and fortune 21 were symbolic satire on the stupidity of living with only a material goal. There is no resolution to the scene. The Salvation Lass enters for the first time. Her appearance is preparation for the Seventh Scene and it is also necessary for her to find out that the Cashier is carrying a large sum of money so that- her trailing him through the rest of the play and her final grabbing of the reward is at least technically believable. There are two ideas brought into the scene which don't necessarily add to the main theme. During the excitement of the crowd, a man falls and is killed. The Cashier's comment on this is, "When life is at fever heat some must die." This incident brings out the idea of the individual being swallowed up by the mass and also the idea that death is sometimes the price paid for an individual daring to be completely alive. In Scene Six the Cashier finds himself in the private room of a night club. Intellectually he is looking for beauty of the mind, pure beauty, and the beauty of gaiety and laughter. Emotionally he is looking for sexual uperience. He brings in four different girls, who are masked, in his attempt to find an inner value. The first Mask is a symbol to the Cashier of intellectual beauty. He wants conversation with her. He dis- covers her to be false and concludes there is no intellect. Mask Two and Three are symbols of pure beauty. He unmasks them and discovers than to be extrenely ugly. There is no inner beauty. The Fourth Mask is a symbol of gaiety and laughter, yet when the Cashier asks her to dance she reveals a wooden leg. With this discovery the Cashier rejects beauty as a value and proceeds to his next stop on the search. 22 There are three climaxes in the scene. Each occurs when the Cashier rejects the falseness of each mask. The final one comes with his re- jection‘of the Fourth Mask and is built by the progressive horror and nausea the Cashier feels with each disillusion. The rhythm of the some is languorous and sensual in contrast to the terrific speed of Scene Five. ' The setting suggests this sensual quality just by virtue of its being in the private room of a night club with soft msic, champagne, and the supposedly beautiful women. The resolution of the scene is extraneous to the some and the rest of the play. A waiter is driven to suicide by three symbols of capital- istic decadence. This repeats the hatred of Kaiser for wealth in any shape or form. It is also a repetition of the idea of mutual responsi- bility. The Salvation Lass enters the scene just as the Cashier is saying, "Death and dancing-«sign posts on the road of life and betwoen them--" This entrance is symbolic in that the Salvation lass who represents the Salvation Aruw answers the question of what is between the Cashier and death by her appearing at that moment. It. is also preparation for Scene Seven and his Cashier's death and it keeps the idea of the Salvation Arm in the Cashier's mind. In this scene the theatrical device that Kaiser has written into the script is the use of masks which are necessary for his symbolism. . Finally the Cashier arrives at the Salvation Army Hall in Some Seven. His whole day is reviewed for him through the testimonials of the Soldiers and Pentitents. He is aroused to confess because he believes that the discovery of the soul is the ultimate goal in life. Along with 23 his confession he throws away all his money. Imediately all those who have gained their souls so beautifully tum into a howling pack of aninnls fighting each other in an attempt to pick up some of the money. The Salvatien Less is the only one who doesn't desert him for money so he decides that Man and Woman alone are the ultimate value. Just as he is exulting over this, the Salvation lass slips out and betrays him to the police in order to get the reward for him. By a process of elimination there is only one thing left for the Cashier and that is the original goal of Some Three; he met kill himself and does. Life is futile. The Cashier has finally completed the circle and his conflict is resolved. The scene is built by the growing intensity in the testimorw of the Penitents and Soldiers, by the music, by the noise of the crowd, and by the final howling, fighting mob who run out after the money. The climax is the betrayal of the Cashier by the Salvation Lass. This is also the climz of the play. The reviewing of previous sequences brings the scat- tered scenes into a unified whole. The resolution is short, coming with the final speech of the Cashier and his death. In addition to his main thane Kaiser has indicated through the play his scorn of: sentimentality, money, power, passion, pleasure seeking, hypocrisy, lack of accepting responsibility, inability of one human in- telligence to really understand another, and the lack of Twentieth Century man's ability to be an individual. He offers no solution to the problems of civilization. His conclusion is completely destructive and pessimistic: Modern nan is raging in a circle from which he cannot escape unless he destroys himself. 24 From Morn to Midnight was first produced by that Reinhardt in Berlin in 1919.2 The pessimistic attitude of Georg Kaiser and his chaotic style of presenting that attitude appealed to a broken nation. The German audience of 1919 would have scoffed at any bright optimism about their future. They were sick of war, starvation, and the idiocy of the Prussian military aristocracy. In 1919 all the themes which Kaiser presents in his play were popular. From Mom to Midnight was translated into English by Ashley Dukes. It was produced in London in 1920 and in New York in 1922.3 The audience in . post-war America was not a disillusioned beaten one. This was the be- ginning of the "Roaring Twenties" in America. What possible appeal could this kaleidoscopic picture of the "little man" being beaten down by the routine of the capitalistic sylstan have for a New York audience in 1922? One interest in the Theatre Guild production would be the utilisation of what were new and startling experimental methods of staging. Another interest in the production came through the fact that it was a new dramatic style. For a general New York audience these two factors would not be of am! interest, but the Theatre Guild was an experimental organization. Any audience it attracted would be a specialized one interested in theatre as an art form. A review of that production indicates what held audience attention and where their interest was focused. The fascination of the show was due to expressionism rather than the significance of the content. 2Montrose J. Moses, Dramas of Modernism (Boston: Little, Brown, and 0mm, 1931), pe 141s 3150808, 100. cit. 25 Although the situation was turnamic and the action precipitate, the audience remained in a mood of cold detachment. They felt nothing, but preceived everything and though unmoved were completely absorbed in the delericus path which led the Cashier to suicide.4 The audience reaction to the 1922 production was an intellectual rather than an anpathic one. The thought of the play is not woven into a single cluminating idea and as a result the audience was left painfully adrift as to the inner significance of the play. There are so many ideas brought in that the main theme tends to be lost. “What is it an analysis of? Value of money, the empty, tawny, epheml pleasures of the sinner? The vulgarity, the cheapness, and cowardly meanness of human life? The author attenpted to supply something positive by revealing only negative judgments. He put only shadows into the picture, but failed to make than tellingly implicit. ,The essential content of the play some hidden and insignificant. Consequently we are tempted to return in our thoughts to the Cashier as a concrete personality; and to follow out, as a matter of human psychology, his theft and its effects."5 This was the reaction to the play in 1922: interesting and exciting in style and method of presentation, but unclear in what its definite thene is. What can fine audimce reaction to a production of From Mom to Mid- night be today? There is no new stagecraft to be introduced, expression- ism as a style within itself is not any longer popular, and the main these 4Roderick Seidenberg, "From Morn to Midnight," The New Republic, 313189, July 12, 1922, De 189s 5 Iblde 9 Fe 190s 26 of the play is unclear. The individual audience as well as the individual production will have to be considered in order to answer the question. A statanent by Kenneth Thorpe Rowe is the basis of the answer to the ques- tion of audience reaction as well as to the purpose of producing From Mom to Midnight. “A typical expressionistic play demnds close attention from an audience, an audience which is willing to cooperate with expendi- ture of energ in the theatre. This suggests a narrower audience than realism, a difficulty which has been met to a considerable degree by the use of exaggerated theatricality on the part of many expressionistic dramatists."6 The audience was a college audience made up mainly of people inter- ested in theatre and theatre literature. It was not just an audience of the general public. In order to mphasise the main theme of the play many theatrical effects which were not written into the script and which were not used in the Theatre Guild production were added. Therefore the pur- pose of this production became threefold: to present to a specialized audience an example of a style which has been influmitial in writing and staging of dram since 1918, to give the director-designer the opportunity to attmpt the clarification of the min theme through the use of action and technical devices, and to give an audience, specialised or general, a theatrically exciting and intellectually stimulating evming. The audience reaction was the same as that of 1922 in that it had no uzpathic response to the play, but was completely absorbed in the style 6Kenneth Thorpe Rowe, Write That Play (New York: Funk and Wagnalls Company, 1939), p. 360. 27 and method of presentation. From this reaction and criticism received after the performances, two of the purposes of the production were achieved. The attempt to unphasize and clarify the main these of the play was only partly achieved. As with the Guild production many people were confused as to just what Kaiser was trying to say, others seemed to be very clear on it. The conclusion is that From Morn to Midnight written in 1916 for a passimistic and bitter public is still good theatre for a narrow audience because of its theatrical possibilities and not because of its contmt. The value of such a production to the director is that he has a greater opportunity to use his visual imagination and ingenuity than in a realistic production. It gives the director an opportunity to combine the duties of the director and designer because the design in which the actor works, the sound, and lighting effects are half the interpretation of the play. This combination of the physical elements and the actors interpreting the script gives the director an experience in the co- ordination cf all the facets of theatrical production which is useful to the direction of any type of play. For the actor the production gives him the opportunity of working in a style where his techniques can be developed and he can have the experience of playing to an audience more obviously as an actor acting than in the realistic style. CHAPTER IV PRODUCTION ANALYSIS CHAPTER IV PRODUCTION ANALYSIS PART I s STAGING The design and direction of From Morn to Midnight were done in accordance with the fundamentals of expressionist staging. In staging the play it was necessary not only to objectify the Cashier's conflict, but to assist in projecting the accompanying satire and symbolism. A combination of abstract symbolic design and stylized movement was used in achieving these min aspects of the play. To clarify the specific devices deployed in this production a discussion of what the theories and practices of expressionistic staging were is necessary. More than any other style in the theatre, the expressionistic drama depends on the physical elements of the production to project its thought and character. The expressionists were quick to adapt the reforms of Craig, Appia, Fuchs, and Reinhardt. The ideas and theories of Adolphe Appia became the cornerstone on which most of the later doctrines of theatrical design for expressionism were founded. First, Appia wanted the stage pictures, “to be freed from the necessity of reproducing back- grounds of action; they were to be transfigured until every elemmt in thm embodied the nation it was to arouse as an integral part of its form, its colour, and its total design. 'Ausdruckskraft' - the force of expression, expressiveness - was one of Appia's favorite terms.”1 1Lee Simonson, The Stage is Set (New York: Dover Publications, 1932), p. 551. 28 29 The expressionist designer was attempting to express emotion through pictorial means independent of the physical reality of the object pictured or its spiritual impression. The designer had to «press these emotions by making his scenery into significant forms. Obviously, a door, a window, or a step unit has no emotion in it. It was the designer's responsibility to put emotion into such objects. An abstract background expressing the spiritual relationships in the play had to be achieved by the designer. The scenery was to symbolize the character's state of mind rather than the place. It was to be elemental in its appeal with a purpose of transcending life and revealing the artist's own dream or vision. Scmery had to be one of the actors in the play. The practical application of this theory developed into many strange nanifestations. The designer twisted and distorted the appearance of places and things in accord with the violent, convulsive mood of the plays. The idea was to show how environment would look to a person who was under ex- treme emotional strain. A method of extreme simplification was practiced where a few planes, lines, angles, steps, scaffolds, screens and curtains set off by light and shadow implied all the complexities of a natural back- ground and environment. A symbolism which was noted for the vdiemence of its symbols was another device of the designers. This excess of symbolism sometimes led to nothing but grotesqueness and unintelligilibity; a cross would represmt a church, a gallows a place of execution, or a single street lamp could suggest a public square; this was all that the symbolist felt necessary for his setting. Often the settings presented a rather hysterical view 30 of environmmt with leaning walls, doors, and windows at impossible angles or maybe a writhing tree in human shape would give an unearthly aspect to a once familiar world.2 The point of view of the audience was often shifted from the stage to the auditorium and back again. There was an attempt to break down the old barriers between the actor and audimce. The theatre building itself became an effective instrument of the expressionists. The director's responsibility had grown with the new stagecraft and expressionism. His main problem was to find ways and means for conveying the expressionistic conception on stage so the audience would understand the play. It was his ingenuity in the use of the physical elements of production, actors, and the script that would clarify or confuse the inter- pretation of the play for the spectator. Some of the devices, techniques, and materials at the director's disposal were masks, expressive lighting, stylized or mechanical movements and speech, and an expressive setting. He could use broad formalized strokes in his action and detail which re- smbled those used in the classic and lyric theatre, in fact he was limited to no one style or technique, but could do whatever he felt was necessary to the interpretation of the play. There were three different methods generally used in staging these plays. In the first the action and busi- ness could be mechanized along with a background schanatised to convey the mechanization of life by mass production. Another type was found in a simple vehemence and burning declaration in performance, with figures 2John Gassner, Producing the Play (New York: The Dryden Press, Publishers, 1941), p. 85. 31 leaping down and running up platforms, Jessnertreppen: J essner stairs, named after the director Leopold Jessner. This style was especially suited for the drama of personal violence, social conflict, or revolutionary mass action. For the subj active drama a third technique was used. The world was given a ghastly shape, reality was distorted into doors, windows, and other objects crasily built, tilted, or crumpled. In the action there was a deliberate distortion and fantastication used.3 It was essential in this production that the director interpret the play in physical toms. The physical aspects, because they are the ex.- pression of the Cashier's mind become as important as the acting in the play. As an example of this: the skeleton in Scene Three, which was a light projection, is the objectification of the thought of death in the Cashier's mind and is equally as important as the Wife in Scene Four who is also a projection of the Cashier's mind. Kaiser wrote in mny physical devices to help objectify the thought in the play. The director must follow his example by adding more; without them the play has only half its import and meaning. This was shown very clearly in this production when technical rehearsals began. Before the technical elenents had been added the play seemed to be dead and without meaning. When the sound, lights, scenery, costumes, and make-up were added the play took on its full stature. Thus the two main problus in directing the play came in preparation and co-ordination. In preparation it was a problem of imgin- ing in an auditory as well as a visual sense inst could be done technically 3Gassner, loc. cit. 32 to help clarify the theme and satire of the play. Obviously the prob- lens of co-ordinating all the elements of technical production in the final rehearsals was the second and most difficult problem. Therefore the following discussion of the direction of the play is an attempt to describe, what was done technically and to justify it in relation to the director's interpretation of the script. An arrangement of black platforms, an apron stage, and black drapes remained stationary throughout the seven scenes of the play. Small set pieces and properties dmoted a change of some within the basic set. This method was adopted because of the small stage: the proscenium open- ing is seventeen feet, five inches, with no off stage space on right stage and five feet off stage space on left stage, the depth is fourteen feet, five inches.4 The shop is right off the stage at left. Leading into it is a door six feet by seven feet. The size of this door also determined the size of the set pieces because it was necessary to shift the scenery and properties from the shop to the stage. Scene One is in a bank. Outwardly this scene is realistic, however it contains an inherent symbolism which mnphasizes the business routine and the Cashier's complete subjection to that routine. Because of this the setting is designed to suggest the bars of routine which surround the Cashier. The Cashier's cage was placed upstage center for emphasis on him and his escape. The entrance to the bank and the Bank Manager's office were placed down left and down right respectively. This forml arrange- ment was used in order to indicate further adherence to the set regularity 4See Appendix .1). 116. ‘ 33 in.the bank. The Cashier's cage was a frame made up of vertical and diagonal bars. The entrance to the bank was two scaffold pillars which repeated the vertical line of the bars on the cage. On.top of the two pillars were two curved lines to suggest the pomposity of the system.to which the Cashier is a slave. The lhnager‘s entrance repeated the verti- cal and curved lines for the same reasons. These three frames were painted a light chalky green with a suggestion of mrble made by a dark green pattern over all of them. Green was used in.this and Scene Two to con- trast with the basic warm.color'used in the scenes where the Cashier's point of view'becomms distorted. The basic color'in these scenes of distortion.was red. Green was chosen as a cool color instead of blue because it is the exact opposite of red, red"s complenentary. This use of line was the design motif throughout the production. The basic lines presented in.this scene'were‘used in.different colors and distortions in the later scenes to represurt different emotional and mental changes within the Cashier. The only set properties used were two realistic chairs and a desk. The combination of realistic props with symbolic scenery follows the semi- realistic, symbolic nature of the scene. The lighting was realistic acting area lighting until the climax. At this point, the area lights were blacked out and a color wheel on a spot light was used to‘project onto the Cashier a series of warm.colors which revolved faster and faster, then.stopped.with his exit. The area lights came back on.after the exit. This projection was employed at the climax of this and every other scene'with.the exception of Scene'Three in order to help point the climaxes and to symbolize the confused state 34 of the Cashier's mind. Music, which was representative of confusion, came on with the color wheel and the repetition of this effect in each scene became a theme for the Cashier's rejection of various illusions. The music used was Steel Foundry by Mossolcv. This music was also used as a bridge between each some in order to give the impression that the Cashier is mentally rushing to another possible solution for his problem. Blackouts were used at the end of each scene so that the rapid jerky rhythm of the play would be maintained and enphasized. The action of the scene was realistic because of its outward realism. The costumes and make-up were realistic for the same reason. Drab blacks and browns were used in the costumes in order to suggest and symbolize the drabness of the everyday world. Scene Two is in the Lady's writing room at the hotel. The setting consisted of two units: one on left stage extending from the proscenium to the upstage platform, and a unit in the same position stage right. The entrance to the room was down right. These two units were built so that the upstage end of them was higher than the flat directly next to it, and the downstage end was still lower. In other words, they were built in three steps with the highest level upstage. This arranganent repeated the straight line of routine. The walls were a dark green with a plain panel on each section. This repeated the vertical line of the Cashier's cage. The properties were realistic because this scene is the same as Scene One, outvmrdly realistic with an underlying symbolism. A desk and chair, a pink settee, and a plain end table were used.5 58cc Appendix p. 122 35 The sound used for effect in the scene was a recording of the Cashier's voice on one line of interior thought. The use of the Cashier's recorded voice was another device which was repeated through the play when he was obviously thinking out loud. This was divided into two types of thought. The moments where he was thinking about some concrete inci- dent, a plain recording was used. Whm he sewed to be going into pure introspective thought, his voice was put on filter in the recording. The device was not used for all the inner thought of the Cashier because that would have been the whole play, but when the degree of thought seemed to be intense or he was very obviously using an interior monologue then the recording was used to intensity the fact of his inner activity. The action of the scene was realistic with one exception: the lady stands motionless when the interior line of the Cashier's was recorded. The costumes and make-up were realistic. Scene Three is in a field of snow. Because of the physical limits-- tions of the stage there was no attempt at even suggesting snow. Instead the basic set with no set pieces added substituted for the snow Kaiser called for. The black curtains at the back were opened and the cyclorana was mployed to give the feeling of wide open space which was one objective of the author in putting the scene outside. From this point on in the play the cyclorama was used and lit in order to represent the Cashier's mood and thought and to indicate symbolically the time of day. Pink, red, and blue in obvious round spots of color lit the cyclorama. The reason for the obvious lighting source was minly one of physical limitation. The stage is too smll and the lighting equipment too limited to get a smooth wash of color on the cyclorann. The spots, however, fit in with 36 the unrealistic, theatrical style of production,. In some scenes one color alone indicated the mood and in others all three colors were mixed to indicate the mood. At the opening of each scene the color on the cyclorama indicated the time of day. At the opening of the scene acting area lighting was used. A change came with the climax. The acting area lights and the cycloram blacked out; lightning flashed, thunder boomed and there were about tm seconds of chaos. With a tremendous crash of thunder the skeleton done in white curved broken lines was projected onto the cyclorama from a spotlight with a cardboard cutout of a skeleton on it. This is the symbol of the Cashier's thought of death. The sudden darhiess and sound represent chaos in his mind. After he has rejected the thought of death the lights went back to norml and the skeleton disappeared. Parts of the Cashier's long speech were recorded as he pantomimed the action. In this scene the device of recording his thoughts was used more than in any other. Only at various climaxes does he burst forth and the recording was turned off. This device helped add variety to a scene which might have become monotonous for the audience and exhausting for the actor. When chaos occurred music‘ was brought in to reinforce the thunder and lightning. The music used was Stranvinsky's Rite of Spring. On the appearance of the skeleton the msic stopped. When the Cashier rejects the skeleton there was a final peal of thunder and the skeleton disappeared. No more sound was used until the blackout. Between Scene Three and Four the Overture to Tannhauser, orchestrated version, was used as a bridge. The reason Wagner was used instead of Mossolov was that all 37 of Scene Four was timed to the Overture laboriously beaten out on the piano by the Cashier's daughter. The movment of the Cashier in this scene was purely for variety motivated by his change of thought. When his thought line changed he moved to a different area of the stage. His costume and make-up remined realis- tic in this scene and throughout the play because he is the only external- ly real person in Scenes Four, Five, and Six, where the costumes of the other characters are stylized. The Cashier's home is the setting for Scene Four. One unit made up of horizontal lines was the back wall of the home. On the upstage right and left sides were two angle pieces. The horizontal line at the back is an indication of the dullness the Cashier sees in his domestic life. The two angle lines of the side units indicate the dull slanting roof of a suburban cottage. On the cmter entrance there were scallops on the top and bottom of the header in order to repeat the lines of the enlarged antimacasser on the chair and the table cover. In contrast to the two cool greens of the first two scenes, this scene was done in a burnt simma base with diagonal dry brushed lines in yellow. Because of his new point of view, the Cashier is seeing for the first time the dullness of his home and this is reinforced by the warm colors and the repetition and exaggeration of the diagonals he was surrounded by in the bank. As the play progressed the colors (basically red and yellow) became more intmse to sy'nbolize the increasing excitement generated in the Cashier in his futile search. These colors are also a repetition of the color wheel colors which represent the fever heat of confusion and excitanent of the Cashier at the climxes of the scenes. 38 His thoughts were also reflected in the properties. Upstage left there was a frame window with three oversize geraniums in it. These were mlarged because the Cashiersees them as a symbol of domestic stagnation. Other symbols are the red watering can, the red frame clock focused on the hour of 12, the mis-shapen piano, the dirty yellow table cover, and the enlarged antimacasser. Acting area light was used throughout the some. The cyclorama was a jarring magenta, somewhat indicative of noon of the day of the Cashier's search. Its jarring note helped indicate the Cashier's sudden distaste for home life. From the lead-in of the orchestrated Overture to Tennhauser the msic went into the Second Daughter's interminable practicing of the same piece. With the piano, an amplified clock tick set the slow deadly pace of the scene. In order to set off and point the climx, the clock tick and the piano stopped men the climactic scene started its build. The action in this scene was stylized and timed with the music and the clock tick. The groupings used were cliches of the cosy family group. The other actors in the scene stood motionless when the Cashier's thoughts were recorded in order to show their ignorance of his thoughts. Unison movement and repetition were used to point the monotonous atmosphere of the home. They were also used to point the satire of the scene. Everything in the scene was a commonplace cliche of the domestic circle. The costumes, although outwardly realistic, indicated this cliche. The Wife ware a drab green house dress and carpet slippers; the Mother wore a baggy black dress and shawl, the two little girls were in cotton 39 dresses, one red, the other yellow with very large hair ribbons to mtch; and the Cashier even got the traditional pipe, slippers, and smoking jacket. The sake-up as realistic, but also expressed the commonplaceness of the some. The Wife was sallow with a sour nagging expression; the Mother was an older version of the Wife; and the two little girls were the traditional pink and healthy children. The steward's box at the Velodrome in Scene Five was made up of two units placed upstage center on the platfonns and the whole scene was played on the platforms. The entrance was a frame with the straight line no longer parallel but diverging from a center point. For the front of the box a large bicycle wheel with the spokes repeating the line of the m- trance was used. The Cashier is now more excited by his search; he has eliminated several possibilities for a goal. His excitement is heightmed so that he no longer sees things in parallel straight lines but in diverg- ing lines. The curve of the wheel was used as a suggestion of the cycle track and the circle the Five Gentlemen go in, in their silly search for money and power. The bright orange and yellow was an intensification of the sienna and yellow of Scene Four. This was not dull domesticity, but pure passion that the Cashier was seeing. Acting area light was used. Thevcyclorama was red for passion. At the opening of the scene for reinforcenent of the jerky, quick, mechanical movement of the Five Gentlemen, Khachaturian's Gayne Ballet, ”Dance of the Rose Maidens" was used. At the beginning of the first race Shostakovich's Rune Danoe indicated the circular speed of the race. This stopped with the entrance of the Cashier. In contrast to the first race, the music for the second was descriptive of the crowd's passion. For this Stranvinsky's Rite of Spring was used. After the race this stopped. In his scene with the Salvation Lass, the same part of Rite of Spring played in Scene Three was repeated here because the Cashier refers back to his experience of the morning. Through the whole scene there was re- corded crowd noise which rose and fell to indicate the growing excite- ment of the crowd. There were no set properties. To indicate the ridiculousness of the Five Genelemen and the Cashier's complete contempt of them they wore pastel monocles and field glasses to contrast with the bright orange of the passion he created. The mgaphone used to announce the race was red to repeat the color used in the cycloram and the starter's flag was orange and yellow to go with the set. The Five Men also carried books in pastel shades to write down the amounts of money given, out for prizes. Confining the acting to a small space was done purposely. It indi- cated a small area in which the five little men spend their lives strain- ing for the money and power thqr can get out of a rather ridiculous pastime. The movenent of the Five Gentlemen as completely stylized so that they did all their actions in unison and in jerlq, short, quick move- ments. This type of movement was used to reinforce the satire. It also set the very fast pace of the scene. Their costumes and nuke-up were stylized. They wore the regulation tail coat and pants, but there the reality stopped. Each wore a large pastel tie, top hat, gloves, and summerbund. Each had a long pastel beard and eyebrows. Their faces were done in a dead white with large black exaggerated lines of surprise painted on. These sake-ups and costumes 41 were indicative of Kaiser's satire and the distortion in the Cashier's thinking. Scene Six takes place in the private dining room of a night club. The three vertical units used were not built in parallel lines. The top of each was maller than the bottom and top and bottom were not parallel. The bright orange of Scene Five went into a deep maroon to reflect the emotional, sexual feeling of the Cashier. The yellow re- mained the same. The units were painted in wide diagonal lines in these two colors. The narrow lines used in the previous scenes became wider, diagonal, and not parallel because the Cashier's mental process has be- come further distorted by his emotional desires. There was an entrance upstage right, a unit downstage left, and a frame unit downstage right which represented a mirror, but there was no glass or representation of glass in it. The deputy frame was indicative of the illusion of man's whole existence. The Cashier saw nothing in the mirror as a kind of preparation for his ultimate discovery that everything in the scene is mpty illusion. The properties, two chairs, a table, and a couch repeated the color and line scheme of the units. The couch, the table cloth, the menu, and the reserved sign repeated the wine and yellow stripe motif.6 The couch was slip covered with stripes for this scene. One chair was wine, the other yellow. At the opening of the scene everything was in darkness except the cyclorama which was red, pink, and blue. As the waiter and Cashier enter 6See Appendix p. 122. 42 in silhouette, the acting area lights came up to half of full intensity. This effect was used to set the sensuality of the scene. With the en- trance of each Mask the cyclorana changed color to suggest the nature of the Mask. It was red for Mask One who is really the most sensual of all the Masks, pink and blue for Mask Two and Three as a symbol of outward feminine beauty, and pink for the Fourth Mask because she was the most insipid of all the Masks. Ravel's La Valse played all the way through the scene except where there was a recorded stream of consciousness speech of the Cashier‘s and when Steel Foundgy came in. The movement in this scene with the first three Masks and to some extent with the Cashier was dance movement which was sweeping and broad. This was used in order to contrast the rhythm of the scene with the ex- tremely fast rhythm of the Fifth scme and yet not let the pace drop to the slowness of Scene Four. The dance movement seemed to be a balance in pace between Scene Four and Five. Furthermore it suggested the mood of the scene. To get a further contrast with Scene Five, the apron stage was used for thefirst time to get away from the confinanent of action used in Five. The Fourth Mask did not dance, but the Cashier kept up his semi-dance movement until the climax of the scene. With the climax his pace broke and this sudden change helped point up the climax. The First Mask was the symbol of intellectual beauty. Her costume and mask were symbolic of this supposed intellectual quality. She were black tights and a black jersey. Over this she wore a stylized acaduic gown. It was short with just strips of red and yellow cloth indicative of the folds of the gown. Her mask was supposed to be that of the stuth 43 with grotesque lines of thought painted upon.it. The Second and Third masks were dressed in black tights with black stylized tux vests and shirts for the top of the costume. This was done because the Cashier refers to them.as being dressed as "slender'bqys." Their masks, a rep- resentation of pure beauty'were‘black net with white lace edging and colored sequins were used to indicate the mouth and eyes. The Fourth Maskw'asa symbol of gaiety and laughter. She wore the traditional comedy mask of the theatre. Her costume was a long white robe with large red and yellow diamonds of the Harlequin robe stenciled on it. Scene Seven depended upon light and sound rather than scenery to create the murky atmosphere of the Salvation.Army hall. A.suggestion of the crowded dim hall was here because Scene Seven goes back to the semi- realism of the first two scenes. The acting area lights were very dim. In the auditorium,'where some of the action.tock place, there'was a small dim.lamp burning over the chair in which the Cashier sat. At the back of the auditorium there was a spot light on the platform by the door leading into the auditorium because one of the scenes was played there. The qyclorama was red at the opening of the scene to contrast with the black'basic set and the dark costumes of the characters on stage. 'With each confession the cyclorama changed to the colors that were used in the scene the confession refers to. As an example, during the Third Penitent's speech the cyclorama went to magenta referring to the color used on the cyclorama in.the home scene. The lighting followed this pattern until the Salvation.Army people ran out of the hall and the Cashier went back up on.the stage in a combination of exultation and hysteria. Then the three colors on the cyclorama started to fluctuate, 44 the color wheel went on and all the other lights, with the exception of those in the auditorium, went out. This moving light was symbolic of the Cashier's mental and «notional state. Then with the Salvation Lass' betrayal of the Cashier there was a complete blackout and the skeleton appeared. After his death special spots were turned on which lit him, and the skeleton went out. There was a pause of five seconds, a peal of tremendous thunder, the skeleton appeared againeand the play ended. The purpose of this last cue was to refer back to the third scene and to em- phasize that fate was his only answer. All through the scene live msic from a drum, tambourine, and the singing of the Salvation Amy helped build the scene. At the crowd's exit and up through the climax Stravinsky's Symphony in Three Movement_s_ .was used for purposes of build. [The gun shot for the Cashier's death was on stage and the peals of thunder were used with the appearance of the skeleton in order to refer to Scene Three. In this scene the action spread all over the auditorium. The apron stage was used a great deal; the crowd sat at the back of the house, and the platform by the auditorium door was used for one part of Scene Seven. This spreading, broad action helped in building a bigger climax than those of the previous scenes and it brought the audience closer to the play and the final summing up of the Cashier's day. The action was stylized only in the inactivity of the Salvation Army group when the Cashier spoke. This technique was employed because although the characters were partially realistic thq were still images in the Cashier's mind which were inter- rupted when the Salvation Lass questioned him. 45 The costumes were all black or navy blue, the color of the Salvation Army and the symbolic color of death. When the Salvation Lass betrayed the Cashier she removed her navy blue coat to reveal a very colorful orange blouse. This was supposed to symbolize her true character. The makedup was light and sallow looking which was designed to add to the eerie, tomb-like quality of the death scene. 46 PART II : ACTING This statement is not applied to character by Chandler in Modern Continental Playwrighjis, but it seems to describe quite concretely the typical expressionist character. "As in primitive art, so in expression- ism, figures are grotesque, distorted, ideographic, dominant. The effects resemble those produced by the drawings of children or savages.” The actor in the expressionistic theatre had to change his realistic conception of acting because of this one dimensional character. To a certain degree acting went back to the Baroque declamatory style. It was far better for the actor to forget real life and think only of the pure idea or auction abstracted from the nany accidents that accompany life in every day reality. Kornfeld, an expressionist actor, designer, and writer advised actors to spread their arms boldly before an audience and to speak as he would not in real life.7 The actor in the new form was not to be ashamed “to act." Unlike the Baroque this style was speeded up to a terrific tanpo. The movements became jittery, the gestures unpredict- able and the delivery jerky and shrill. Stuart Cheney in Stage Decoration describes expressionistic acting as having claimed the right to violate, deform, and reshape outward nature just as far as such violence furthered emotional expressivmess.” There was another theory of acting in the expressionist style which had a cubist tendency. The actors who followed this believed that a O 7Mordecai Gorelik, New Theatres for Old (New York: Samel French, 1947), p. 253. 47 great part of the art of acting is in knowing when and how 332 to do things. This principle was exaggerated to grotesque proportions. Tremen- dous restraint was used in gesture and voice control. This overwhelming restraint conveyed to the observer an almost unendurable intensity of re- pressed motion.8 The director of an expressionistic play has the problem of getting his actors not only to understand the play, but the style of acting. When this understanding has been gained, then the actor met be told in concrete terms what the director wants and what his interpretation of the play is. There is little opportunity for the actor to use his own imgi- nation in acting this style because one interpretation mst be followed completely and that interpretation is the director's. If an actor decides to play a scene differently from the way the director has planned he will throw the whole scene out of focus and the meaning of the whole play. What the actor feels personally is of no importance to the characteriza- tion. 1 The actor in an expressionistic drama is not trying to create an illusion of reality. He is attempting to project to the audience either one or at times several dominant characteristics. In this production of From Mom to Midnight it was first necessary for those actors who were portraying distorted symbolic characters to understand and to conceive a certain basic reality for the character. This reality was then reduced to one characteristic and distorted or exaggerated to such a degree that 8H. Steinhauer, Das Deutsche Drama 1880-1933 (New York: W. W. Norton and Company, Inc., 1938) Vol. I, p. 32. 48 only that one characteristic was visible to the audience and the actor became the characteristic rather than an integrated character. The char- acters in Scene Four were symbols of dull domesticity. That dullness was exaggerated in the acting by nagging monotonous voices and listless repetitive movement. In Scene Five the Five Gentlemen were embodiments of greed. By taking two realistic characteristics of businessmen; their continual hurry and obvious love of money for its own sake, and exaggerat- ing them through a distorted reaction to the mere mention of money and an extremely fast, jerky walk the actors projected in an exaggerated abstract form the characteristic of greed. The Masks of Scene Six did not have to achieve any basic reality in their thinking because the dance mount and their masks provided the symbolic abstraction for them. In the First, Second, and Seventh scenes the characters were partially realistic and partially symbolic. The actor's problem, then became one nearer to that of realistic acting in that he was not the ubodimmt of one characteristic, but that he was a certain type or stock character. He had to base his characterization in reality and then emphasize, not exaggerate or distort, what was typical of his character. The Bank Manager and the Stout Gentlem who are symbols of greedy businessmen put an m- phasis on their love or monq and their small evil minds. The author makes it impossible to miss this emphasis with his lines, but the actor must get the comfortable, well fed, smug, and conceited feeling of the Bank lhnager or Stout Gmtlerrmn. This emphasis on type is difficult because the actor either tends to become too three dimmsional for the effect of a symbolic flatness which is desired to project the thought of the play or he tends to do nothing but read lines. 49 The Peuitents and Soldiers in the Seventh Scene were all symbols of hypocrisy, but their min importance was in what they said of their past lives because of its importance to the Cashier. They were types. There was no attempt to make then well integrated three dimensional characters in the writing or the directing of the play. They, too, had to find what was typical in their characters and anphasize it.9 As there is an external action and an internal action in the play, there is also an external and internal character for the Cashier. In ex- ternal realistic terms he is a little robot-like person who breaks loose from his routine and spends a day in wild confusion over his theft. In fear of being caught by the police he kills himself. This external picture of the Cashier is unimportant and should not be emphasized by the actor. What is important for the actor to anphasize is the internal thought and auction of the Cashier not as it affects the character in ex- ternal reaction, but as a thing in itself. In the beginning he is a symbol of the “little man" stuck in a routine, suddenly he breaks that routine, realizes he is a free human being with a will of his own, becomes a symbol of Man searching for an ultimate goal, and finally a wmbol of Man stripped of all illusions. The actor, in order to get the realization of freedom in the Third Some mast realize from what the Cashier has escaped. Therefore, his role as the dreary little Cashier can be analysed from a realistic point of view for a basis from which the actor works, but because the Cashier changes 98cc Appendix :9. 128. 50 from scene to scene this analysis will not be practical for the whole play. If the actor were to attempt to give the illusion of reality to the audience through an adherence to the realistic method of acting thm the whole idea of the play would be lost because the emphasis would swing to the external and Kaiser is concentrating on that which goes on within the Cashier. The actor must realize that at the beginning of the Third Scene, the individual Cashier of the first two scenes no longer exists. From the Third Scene to the end of the play the actor is an anbodiment of an idea or an emotion. All the objects and people who surround him reflect that idea or motion. Furthermore the ideas and emotions change from scene to scene and the Cashier, the embodiment of these, must change. In Some Four he is completely objective, calm, and intellectual in viewing his home without illusion for the first time. Scene Five throws him into the excitement of power and spending money. - At the cabaret, he is sexually excited. The final scene calls for ecstasy and exultation. The actor's problem becomes one of understanding the intellectual idea of each scene, taking that idea and relating it to his own experience or to some reality in his own mind, then taking that motion or idea and exaggerating it to an extrane degree, then obviously projecting it to the audience through obviously acting through his voice, body, and technique. He is not acting with the idea that he is convincing the audiuce that he is a Cashier having a real experience, but he is projecting the essence of raw‘thought or emotion of Man in general. The character demands of the actor perfect stage technique, voice and body control. In addition to these mechanics he must have a large capacity for intellectual understanding. 51 The acting of From Morn to Mdnight was based on reality as a means to an end. The actor started with reality and worked away from it to distortion, exaggeration, or an anphasis on certain details. For any style of play the ability of an actor to time a cross or pick up a one is of utmost importance. In From Morn to Midnight it becane the most important problem. If a play has a plot with a story and good characterizations it can survive a scene that does not build to a climax or one that is not timed properly. From Morn to Midnight could not sur- vive the lack of timing and build. Each scene had a definite pace and slim. In order to gain variety in Scenes Four, Five, and Six which were all written on the same level of intensity the pacing or rhythm of the scenes had to be varied through timing. Without this pacing these scenes would have been dull and would have gotten nowhere in projecting the thane of the plw. The climaxes of the rest of the scenes all reached a different level and here the actors had to realize a teolmique of build- ing a scene and pointing a climax in order to project the thought of the scene and to gain a variety and interest in the short scenes. ‘ The dialogue of expressionism is particularly difficult for the actor to grasp. Georg Kaiser used two kinds of empressionistic dialogue in From Morn to Midnight. It is necessary to know what these types of expressionist dialogue are before discussing the dialogue of the play specifically. The dialogue used grew out of the thought and character of the expressionistio play. It was Wedekind who introduced a new prin- ciple of structure with his dramatic dialogue. He knew that in real life one person would ask another a question and receive a perfectly irrelevant 52 answer. He incorporated this into his plays as a cynical comment on human intelligence and as a result of his use of this technique the rest 10 In this new form of the upressionists took it up and developed it. the words become indications of moodsand the sentences measures of spiritual sensitivity. A spiritual and psychological network is built up behind what is said. Expressionistio dialogue in general is more dynamic and faster than realistic dialogue. It departs completely from colloquial speech and goes in one of two directions; either toward a lyric eloquence, or toward a condmsation of language. The lyric or Baroque style of diction is charged with passion and violence. It pays no heed to the laws of measure and restraint. At an emotional crisis it grows into a lyrical fever. The cubist or telegraphic style threw out all articles, conjunctions, adjectives and at times even verbs. There is no attempt to follow the laws of grammar. Through the use of the explosive apostrophe and exclam- tion a lively brevity is gained. An ultra modern clipped kind of diction was developed. The dialogue becomes very staccato, compressed, and direct. Monologues, frequently of considerable length, are used to enable the character to convey his inner thoughts to the audience. Repetition, cliches, and uncompleted or incoherent thoughts are also used to gain the impression of a confused, chaotic or mechanized world. With writers like Kaiser the callous overtones of this type of dialogue are intensified to a point of nightmare unreality.n 10S'teinhauer, op. cit., p. 22. llGorelik, OEe Cite, pe 252e 53 Kaiser used the telegraphic style more than the lyric in From Mom to Midnight. In the Seventh and Sixth scenes he used the lyric type of dialogue for the Cashier. All the other characters used the telegraphic style in all the scenes with the exception of the Penitents and Soldiers in the Seventh scene who tend to become somewhat lyric. The difficulty in the telegraphic style was the actor's understand- ing of what he was saying and his phrasing. There are no transitional words or phrases and realizing a change of thought or auction is diffié cult when the writing jumps from one thing to another with no carry over. To help in understanding this and in getting the transitions, the actor filled in the gaps mentally which not only helped in phrasing, but also in an understanding of the play as a whole. For the lyric passages of the Cashier's the difficulty came in letting the sound run away with the meaning completely. A tendency to establish a pattern from the poetic qualities of these speeches must be checked carefully. If not a meaningless and dull type of chanting develops which expresses nothing. Another problem with dialogue came in Scene Two where the Wedekind type of dialogue is most pronounced. It was very difficult to make the lady and the Cashier realize that they should not be listming to one another mentally and not realize what the other was saying. This problen was handled by just repeating what type of thing was being done and using examples of it from real life. A The expressionist style makes the acting problem one of technique and intellect rather than emotion. An ideal actor for expressionism would be one to loves to act, is technically perfect in stage technique and voice and body control. 54 PART III: SCRIPT CHANGES The Theatre Guild version of From Morn to Midnight was followed in this production. Three alterations were made for the production which did not follow this script.12 In Scene Three lines were added from the hglish version of the play.13 After reading bofim versions of the play it seemed that these additions to the Americanized script made the ideas expressed by the Cashier much clearer. They are really a repetition of what he has said, but because of their phrasing help explain the preceding line. These additions are underlined in the prompt script. At the end of Scale Six there is a scene between the Waiter and Three Guests. They steal the money the Cashier has left for the Waiter and as a result drive him to suicide. This scene was cut because it is extraneous to the main theme of the play. The ideas that are expressed in it have alreacb' been expressed in Scene One, Two, Three, and Five. They are that capitalism is bad and that people refuse the responsibility they have for all other people. At the end of the play as the Cashier falls he is supposed to gasp out, "Ecce Homo," then there is a tremendous crash as if all the lights were blowing out, and the Polioanan says, "There must be a short circuit in the main." and the play ends. 12Georg Kaiser, From Mom to Midnight (Trans. Ashley Dukes: New York: Brentano's Publishers, 1922), p. 51-55. 13Thomas H. Dickinson, Chief Contempora Dramatists (3rd series: New York: Houghton Mii'flin Com , T930 , p. 24 -43. 55 This ending was cut because the scene builds to an exciting climax and is resolved with the last speech of the Cashier which is a very good one. It seemed anti-climactic to have him say amrthing after he had shot himself. The big sound effect was cut because the last line of the play, although very symbolic seemed ludicrous after a sound one which was supposed to symbolize the whole systan as rotten, as a "short circuit." This ending was used in place of the original. The Cashier shoots himself and falls. The skeleton disappears, the lights come on for three seconds, then there is a blackout, an enormous crash ofthnnder and simultaneously the skeleton appears again for five seconds, then there is a blackout and the play ends. This reappearance of the skeleton anphasizes the Cashier's final answer to his conflict, rather than empha- sizing Kaiser's final jab at the "system”, by recalling Scale Three in which the Cashier becomes the symbol of Man searching for a goal. CHAPTERV PROMPT BOOK Key to Abbreviations used in script: C D L R U X ..... Center Stage ..... Down Stage ..... Left Stage ..... Right Stage ..... Up Stage eeeee Cross 56 FROM HORN TO MIDNIGHT A Play in Seven Scenes by Georg Kaiser . Cast: Cashier Stout Gentleman Clerk Messenger Boy Lady Bank manager thfled Gentleman Serving Maid Porter The Lady's Son The Cashier's thher His Daughters (2) let Mask 2nd Mask 5rd mask 4th Mask Officer of Salvation Army lst Soldier of Salvation Army lst Penitent 2nd Soldier of Salvation Army 2nd Penitent His Wife , 3rd Soldier of Salvation Army lst Gentleman 3rd Penitent 2nd Gentleman 4th Soldier of Salvation.Army 3rd Gentleman Policeman 4th Gentleman Crowd at Salvation.Army Hall 5th Gentleman Crowd at Salvation.Army Hall Scene I - The Interior of a Provincial Bank Scene II The'Writing Room of a Hotel Scene III - A Field Deep in Snow Scene IV - The Parlor in the Cashier's Home Intermission Scene V - The Steward's Box at a velodrome during Bicycle Races Scene 'VI - A Private Supper Room.in.a Cabaret Scene VII - A Salvation Army Hall In a Small Town.and a City in Germany at the Present Time Cues Scene I Business Opening : Stage lights on Work lights out House lights out Curtain Beam spots dim up with curtain Qpening grouping: Cashier U.C. in cage counting money, Clerk at desk typ- ing, Messenger Boy at R. of Cashier's window staring at D.L. entrance, Stout Gentleman in chair D.L. of D.L. en- trance yawming. All through the scene the Cashier goes through a mechanical routine of counting, writing, stamping. In reaction to the Lady and the talk about her this routine is gradually broken until it no longer exists at the end of the scene. 1. Messenger Boy X to L.C. 2. Stout Gentleman rises. 3. Clerk stops typing and takes paper out of machine. Messenger Boy stares at the Lady and sits on step U.L.C. He continues to stare at her through the scene. 4. Lady stops in D.L. entrance, opens her purse looking for letter, finds it drops it. 5. Stout Gentleman picks up the letter gives it to her and bows. Takes off hat and than puts it back on. 6. Stout Gentleman sits down again in UeLe Chaire The lady Xe to Le Of Cashier's window. Stout Gentleman stares at her. 7. lady hands letter to Cashier. 8. Lady X.R. of Cashier's window. 9. Iacbr removes gloves. 10. 11. 12. 13. 14. Bank Manager X D.R. Bank Manager puts on pince-nez. Stout Gentleman looks at lady, makes mock bow to her back and grins at Bank Manager. Stout Gentleman looks at stomach. Then lights cigar. Lady smiles at Bank Manager X to him. 57 SCENE I Scene: Interior of a provincial Bank. Cashier: (Raps on the counter) Messenger Boy: (Turns, hands in a check) Cashier: (Examines check, writes, takes handful of silver from draw_e£, counts it,jushes a smTI pile across the counter. Messenger Boy: (Sweeps money into linen bgg) @ Stout Gentleman: @ Now the big men take their turn. (Lady enters. @ n. L.) Lady: At last! @ Stout Gmtleman: (Gives place to her) @ The big men can wait. (6: 4c Lady: W A letter of credit. Three thousand, please. (Cashier looks at it, hands it back). Law: I beg your pardon (Hands letter back to him). Three thousand, please. (Cashier glances at it hands it tgLClerk. Clerk takes letter goes out through Manager's door. D.R.) Stout Gentlemen: I can wit. The big man can always wait. (g2 Lady: (9) In notes, if you don't mind. Manager: (_Y_outhful, plump, comes in with_l§tter in his_h_and) Who is --Q-9/ (Stgps short seeing the lady. Q1) Clerk does back to desk) Stout Gentlemen: 12 Aheml Good morning. Manager: How goes it? Stout Gentleman: @ Oh, rounding out--rounding out! (Mger laughs shortly) * Manager: I understand you want to draw on us? (To lag) Lady: Three thousand marks. @2 Manager: I would pay you three- (Glancing at lettgg) three thousand with pleasure, but-- lady: Is anything wrong with the letter? (5 I. \D "I Scze 94 l 9 .5 (II 15. 1 “fled Gentlemn I to 3. of Cashier's window. Bands tastier check. Cashier looks at check notions tcuard Ban}: yam gar. L'nffled Gentleman I to between Bank ins-eager and Lady and above then. L'uffled Gentiezzan taps Bank lhnager or. shoulder. Snows oneca. liszled Gmtlenan I to 2. Cashier's window. 58 Manager: It's in the proper form. (Reading) "Not exceeding twelve thousand"-quite correct. (13 elling out addregs) B-A—N—K-O- Lady: My bank in Florence as mired me-- Manager: Your bank in Florence is quite all right. Lady: Then I don't see wily- Manager: I suppose you applied for this letter? Lady: Of course. lbnager: Twelve ‘tnousandnpayable at such cities-- lady: As I should touch on my trip. Mamger: And you must have given your bank in Florence duplicate signatures. lady: Certainly. To be sent to the banks mentioned in the list to identify me. lbnager: (Looks at letter) Ah! We have received no letter of advice. Stout Gentlemen: (Coughs, winks at Tanager) lady: That means I must wait until... Manager: Well, we must have something to go upon! (Muffled Gentleman enters) G95 Lady: I was quite unprepared for this... ® lbnager: As you see, Madame, we are even less prepared; in fact-”not at Elle Lady: I need the money so badly... @ Manager: Who doesn't? (Stout Gentleman laugm) Myself for instance--@> (To impatient NETTIed fistomer) YetThave,‘ more time than I-- ‘ don't you see ‘f'm busy with this Lady? Q9 Now, insane, what do you expect me to do-pey you noner on you-ah-- (Stout Gentle- man titters) Lady: I'm staying at the Elephant. Manager: I am very glad to know your address. (Stout Gentleman wheezes with laughter) I wlways lunch there. Cues Scene I Business 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. Bank lhnager I to D.L. door and takes off pince—nez. Bank Manager nudges Stout Gentle— We Lady puts letter in purse. Lady X to downstage side of D.L. door and puts on gloves. Lady exits D.L. Bank Manager makes a very low mock bow toward D.L. door. Stout Gal- tleman lifts his hat and leans around toward door in mock bow. Bank Manager X to Clerk's desk. Bank innager pours glass of water and drinks. Stout Gentleman puts out cigar. Bank Manager puts glass back on desk. 59 Law: Can't the proprietor vouch for me? Manager: the he already had the pleasure? (Stout Gentleman rocks with delight) lady: Well, I have my luggage with me... Manager: Am I to examine it? lady: A most embarrassing position. I can't... Manager: Thai we' re in the same boat. You can't-«J can't-wthat's the situation (returns letter). Lady: What do you advise me to do? Manager: {/20 This is a snug little tom of ours-wit has surroundings-- The Elephant is a well-known house...you'11 make pleasant acquaintances of one sort or another...and time will pass... daySeeenightBeeemll you now Iacb': I don't in the least mind passing a few days here. Manager: Your fellow-guests will be delighted to contribute something for your entertainment. Lady: But I must have three thousand today! knager: (to Stout Gentleman) Will anybody/here underwrite a lady from abroad for three thousand marks? @ lady: I couldn't think of accepting that. Q?” I shall be in W room at the hotel. (23? When the letter of advice arrives, will you please notify m6” at once by telephone? lhnager: Personally, Madame, if you wish. lady: In whatever way i the quickest. I shall call again in any case this afternoon. €47 Manager: @ At your service. (Muffled Gentleman impatient. lhnager gnores him. Looks merrily at Stout Gentleman S.G. sniffs air) All the fragrance of Italy, eh? Q6 Straight from th perfume bottle. (Stout Gentleman fans mself) Wam eh? @ Stout Gentleman: Three thousand is not bad. I guess three hundred wouldn't sound bad to her either. Manager: Perhaps you would like to make a lower offer at the Elephant? 29‘I --in her room? Cues Scene I Business 30. 31. 32. 33. 34. 35. 36. 37. Muffled Gentleman taps Bank Manager on shoulder, gives him check. Bank Manager puts on pines-nee, reads check, gives it to mffled Gentleman, nods toward Cashier. Stout Gentleman rises. Muffled Gentleman X to D.L. door. Stout Gentleman picks up brief case X to L of Cashier's window. Bank Manager fixes his carnation. As the Stout Gentleman counts the money he puts it on the Cashier's counter and then the Cashier counts it. Stout Gentleman continues to count and give money to Cashier. Cashier counts as he gets it. 60 Stout Gentleman: No use to us big fellows. Manager: Our bellies protect our morals.@ Well? (3}. Messenger Boy: (Stares after Lady, starts out stumbles over S. C-. S.G. steals his money bag) Stout Gentleman: Q2 There, my boy, that's what comes of making eyes at pretty ladies. Now you've lost your money. How are you going to explain to your boss? (M.B. laughs) Remanber this for the rest of your life! (Returns money bag) Your eyes run away and you bolt after them. You wouldn't be the first. (Messenger exits D.L. Cashier counts out some small silver for Kaffled Gentleman) Manager: And they trust money to a young fool like that. Stout Gentleman: Stupidl Manager: Peeple should be more careful. That boy will abscond the first chance he gets-ma born embezzler. (To M.G.) Is anything mng? (M.G. looking at every coin) That's a twenty-five pfennig piece. Forty-five pfennigs altogether, that's all that's com- ing to you. (lLG. puts money away carefully) @ Stout Gentleman: ‘ You ought to deposit your capital in the vault. Now it's time for the big men to unload. @ (M.G. darts angry glance at S.G. and exits D.L.) Manager: What are you bringing us this morning? Stout Gentlemn: (puts case on counter and takes out pocketbook) With all the confidence that your elegant clientele inspires. (offers hand) Tanager: (taking it) In any case we are imme to a pretty face men it comes to business. Stout Gentlemn: (counting money) How old was she, as a guess? Manager: I haven't seen her without rouge EASE. ---yet. Stout Gentleman: What's she doing here? @3 Manager: We' 11 hear that to-night at the Elephant. Stout Gentleman: But who's she after? @ Manager: All of us, perhaps, before she gets through. Cues Scene I Business 38. 39. 40. 41. 42. 43. 45. 46. 47. Bank manager points at himself, laughs e Stout Gentleman gives more money to Cashier. Stout Gentleman.gives Bank manager a slip of paper. Bank manager gives paper to Clerk. Stout Gentleman.gets more money out of brief case. Gives money to Cashier. Stout Gentleman snaps brief case Bhllt e Bank Manager X to chair U.L. and Sites Stout Gentleman takes bill from Cashier X to Bank Manager. Bank manager takes bill from.Stout Gentleman. Bank manager waves bill toward D.L. door. 3w 4' I F!!! 61 Stout Gentleman: What can she do with three thousand in this town? Manager: Evidently she needs them. Stout Gentlemen: I wish her luck. Manager: With whatt Stout Gentlemen: Getting her three thousand if she can. Manager: From me? @ Stout Gentlemen: It doem't matter from whom! (They laugh) Manager: I'm curious to see when that letter of advice from Florence will arrive. Stout Gentleman: If it arrives! Lhnager: Ahl If it arrivesl Stout Gentlanan: We might make a collection for her benefit. Bhnager: I dare say that's hwat she has in mind. Stout Gentleman: You don't need to tell me. lhnager: Did you draw a winning number in the last lottery? (laugh) Stout Gentleman (to Cashier): Take this.@What's the difference if our money draws interest here or outside. Here—open an account for the Realty Con- struction Co. L49 Manager: (Sharply, to Clerk) (Q) Account: "Realty Construction Co." Stout Gentlanan: There's more to come. Manager: The more the merrier. We can use it just now. Stout Gentleman: Sixty thousand marks, fifty thousand in paper, G3) ten thousand in gold (Cashier continues to count). Manager (after pause): And how are you, otherwise? Stout Gentlemn: (To Cashier who stops to look at a note) Yes, one's patched. L49 I'll reserve it for our fair client: from Florence. She Manager: @We'll accept it, of course. We shall soon be rig it. 47 were patches too. Cues Scene I Business Bank Manager: but I have a keen eye-~when you're I joke about it a banker-- Warn Sound #1 and Light #1 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. Stout Gentleman takes bill I back to Cashier's window and gives him the bills Clark X to Stout Gentlanan. Stout Gentlmn slaps Bank Manager on shoulder. Clerk hands receipt to Stout Gentle- man and X back to her desk. Stout Gentleman picks up brief case. Bank Manager hands him his cane which he has left on chair. Bank Manager takes Stout Gentleman to door D.L. Bank Manager looks out door. Bank Manager turns toward the Cashier Bank lhnager X to Clerk' 8 desk for matches. Bank Manager takes out gold cigarette 08.390 Bank Manager lights cigarette. Bank Manager X D.L. Bank Manager X to Clerk’s desk to dump ashes. Bank Manager X D.R.C. Bank Manager tirns toward Cashier Bank Manager X to D.R. exit. 62 _I.~ Stout Gentleman: @ But behind these you find--a thousand mrks. Manager: Face value. 29) Stout Gentleman: (laugh) Face value, (59] that's good: Manager: The face valuel Here's your receipt. @(laugh) Sixty- thousand-- Stout Gentleman: (takes receipt--reads) Sixty-thou-- L52 Manager: Face. <53) Stout Gmtleman: Value (shake hands) manager: (in tears with laughter. (5:4 I'll see you to-night. Stout Gentleman: (nods) The face--the face-~valuet (exits D.L.) Manager: (wipes tears from pince—nez; Cashier fastens notes together in bundles. Q55); This lady from Florencenwho claims to come from Florence-- 56 has a vision like that ever visited you in your cage be ore? Furs-perfmnel The fragrance lingers-- 57 you breathe adventure. Superbly staged. Italy...Enchantment-- fairytale. . . Rivi era. .Mentone-PordigherauNiaeu-Monto Carlo-- ' _where oranges blossom, fraud blooms, tomegS/BI Swindlers-- 59; down there every square foot of earth bro 8 them. They organize crusades; The gang disperses to the four winds-«preferably small towns-u-Off the beaten track. Then--apparitions--billowing silks-- furs-~women-modern sirens. Refrains from the sunny southojbella Napolil One glance and you're stripped to our undershirt-«to the bare skin-~to the naked, naked skin. (6:6/ Depend upon it, this bank in Florence knows as much about that ady as the man in the moon. The whole affair is a swindle, carefully arranged. And the web is woven not in Florence, but in Monte Carlo. That's the place to keep in mind. Take 11y word for it, you've just seen one of the gad-flies that thrive in the swamp of the Casino. We shall never see her again...‘ The first attanpt missed fire; she'll scarcely risk a second! @ Ljoke about it but I have a keen eye-amen you're a banker--. (62) I really should have tipped off the police!” Well, it doesn't concern mew-besides, banks must be discreet. on Keep your eye on the out-of-town papers,-the police news. When you find something there about an adventuress, safe under lock and, key-«then we'll talk about it again. You'll see I was right-- 64‘ then we'll hear more of our Florentine lady than we'll ever see of her and her furs again (exit) (Cashier seals up notes) Cues Scene I Business lady: I'm clumsy with the left hand. Sound #1: Steel Foundry on runs to theTashier's exit. It builds in volume until it is very loud on his exit. Li ght #1 : Blackout and Color wheel projection on simultan- 00113 1Ye The color wheel runs faster and faster-~then it goes out on the Cashier's exit. Cashier: Warn Sound #2. 3. Cashier' 3 exit: Manager: Get me a glass of water! Light #2 and Warn curtain. Sound #1 out Light #ZnActing area lights on. Color wheel out. What the dGVlleeeYI Light #3 - Blackout. Sound #2 - Steel Foundq on Curtain. House on Works on Stage out (at 5) for bridge to Scene II. 65. 66. 67. 68. 69. 70. 71. 72 e 73. 74. 75. 76. 77. 78. 79. 80. Porter X to Clerk. Clerk gives Porter receipt. Clerk re—enters X to desk. Lady enters X to L of Cashier's window and speaks to him. Serving Maid sits in chair upstage Of DeLe door. lady X to Serving Maid. Serving lhid rises. Serving Maid X to Cashier's window --L side of it. Clerk looks at Cashier. Cashier drops money all over floor. Picks it up, looks at Clerk then at Water Bottle. Porter starts to X to water on Clerk's desk. Cashier's line stops him L.C. Porter ”(its UeLe With Water bottle. Cashier looks around, stuffs money into his pocket, grabs hat and coat and runs out D.L. Bank Manager stops R.C. Clerk stops U.R. Porter stops U.L. 63 Porter: (enters with letters-~65; hand them to Clerk) One registered letter. I at the receipt. Q (Clerk emits D.R. Porter exits DeLe) lady: I beg your pardon. Cashier: (Stretches cut his hand-«doesn't look at her-wraps) Lady: (louder) If you please! (Cashier rgps) I don't want to trouble the Manager a second time. (Cashier mpg) Please tell men-would it be possible for me to leave you the fitter of credit for the whole sum, and receive an advance of three thousand in part pay- innit? (Cashier raps) I should be willing to deposit my diamonds as security, if required. Any jeweler in the town will appraise them for you. (Takes off glove and starts pulling at bracelet. 69 Serving Maid enters-«starts rummglng for check, causes lady to r look at her. Cashier has a long long look at lady's hand and arm. Finallytlady turns back to Cashier, Cashier smiles at her). 0?- course I shall not ask the bank to do anything irregular. (She tries toput bracelet back on. Can't. Stretches arm to Cash-izr). Would you be so kind? fil'm clumsy with the left hand. (Cashier stares at her. Can't move). (l servin maid). @.“You can Help me mdnnciselle. (Maid does) - cw e safety catch. (cgs out: You're inching my flesh. Ah, that's better. Thank you so mc (exits) 72 Serving maid gives Cashier her check). (He fumbles with it — Serving Maid: That isn't all mine. ‘ Cashier writes-«ignores her) "5 But it's too much! Cig-(Cashier takes some ofmcney) _’ Still too midi! (Cas ier ignorefher) (She “itfieLe) C7; Cashier: Get me a glass of water! (Clerk brings some from desk) That's been standing. Fresh water-~oold water—from the faucet. (Clerk exists U.R. Cashier rings ier Porter--Pcrter enters 232.7 Get me fresh water. Porter: 6'9 I'm not allowed to go so far from the door. Cashier: For me. Not that sl _ . I want water from the faucet. Q91 (Porter emits U.L.) 77 (Cashier steals money and exits). ihnager (enters D.R. reading letter): Here's the letter of ad ce rcm Florence, after all% H a 80 (Clerk enters U.R. and Porter enters U.L.) Manager (locking up): What the devil...? Curtain Scene II Cues Business Opening : Stage lights on. Work lights out. House lights out. Steel Fwndgjy out with curtaine Beam spots up with curtain. Opening: Lady at desk D.R. writing telegram. Son X to R of couch L and leans picture on the end of it so it faces upstage. l. 2. 3. 4. .5. 6. 7. Son takes off hat and coat. lady finishes writing telegram and smiles. Son throws hat and coat down on R. end of couch. Son X to upstage corner of desk. Son X to picture. lady closes eyes. Son I to Lady. 64 SCENE II Scene: Writing-room of a hotel. Lady: (Writes. Son mters D.R. withiicture) Have you brought it with you? Son: Hush! The wine dealer is downstairs. The old fool is afraid .I'll mn away with it. Lady: But I thought this morning he was glad to get rid of it. Son: Now he's suspicious. @ Lady: You must have given yourself away. Son: I did let him see I was pleased. lady: ® That would open a blind man's eyes. Son: @ Let it. (4) But don't be afraid, Mother, the price is the same as it was this morning. Lacy: Is the nan waiting for his money? Son: Let him nit. Iacb': But my dear boy, I must tell you-- Son: Hush, Mother. @ This is a great moment. You mustn't look 69‘ until I say so. (Lifts covering of picture). Lady: Ready? 8011: (Low tone) (7: Mother: (She looks at picture) Well? lady: That was never meant to hang in a restaurant. Son: It was turned to the wall. The old fellow had pasted his own photograph on the back of it. Lady: Was that included in the price? Son: (laugh) Tell me, what do you think of it? lady: I find it--very naive. Cues Scene II Business B. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. Son 1 to L of upstage, platfom. Son X to C of platform. Son I to D.R. corner of C platform and sits on step. lady rises X to Son, ruffles his hair. Lady X above couch gesturing toward U.L. Son rises. Studies picture closely. lady X to end table at I. of couch, gets cigarette. Son X to below couch and kneels on it. Lady X to Son, puts hands on his shoulders. Son lights her cigarette. Both sit on couch. Soni Lacb': Son: Lady: Son: lady: Son: lady: Son: Lady: 13cm: Son: 65 Marvelous, isn't it? Entraordinary considering it's a Cranach. Do you really prize it as a picture? Of course! But just look at the peculiar conception-4mique for Cranach. And a new treatmmt of this subject in the entire history of art. Where can you find anything like it--in the Pitti--the Uffzi--the Vatican? Eve: the Louvre has nothing to comers with it. @ Here we have without doubt the first and only erotic con- ception of Adam and Eve. The apple is still in the grass--the serpent leers from behind the indescribable green foliagenand that means that the dram is played in Paradise itself and not in the banishment. That's the original sin--the real fall: Crenaeh painted dozens of Adams and Eves--standing stiffly-u-always separated-- with the apple bough between then. In those pictures Cranach says simply: they knew each other. (9) But in this pic ,1‘9 for the first time, he cries exultantly they loved each other. 10 “ Here a German proves himself a meter of an eroticism intensely southem in its feeling. And yet what restraint in this eetasyi This line of the Iran's arm as it slants across the mn's hip. The horizontal line of her thighs and the opposing line of his-u-never weary the eyes. These flesh tones mks their love a living thing-«doesn't it affect you that way? 11‘ I find you as naive as your picture. What does that mean? Please hide it in your room. (1} I won't get its full effect until we get home. @> This Cranach in Florence. Of course, I'll have to postpone finishing my book. I must digest this first. A ran must live with a thing like this before he dares write about it. Just now I am overwhelmcd. Think of finding this picture here--on the first stage of our tripl @ But you were almost certain that it must be in this neighbor- hOOde Q I am dazed nevertheless. Isn't it amzingl I am luclq. (1:9 This is simply the result of your own careful research. QT?) But not without your generosity? Your help? (1}? It makes me as happy as it does you. Your patience is endless. I tear you from your beautiful quiet life in Fiesole. You are an Italian, but I drag you through Germany in. mid-winter. You live in sleeping cars or third-rate hotels; rub elbows with Tom, Dick, Harry! Scene II Cues Business Son: Your patience is endless. 19. Lechr rises and X to desk. Warn Sound #1. 20. Son X to door D.R. Lady: ...You see, we traveled so 21. Lack? arranges papers on desk. quickly that... Sound #1 - Phone rings. 22. Cashier I to picture. 23. Cashier X above couch still looking at picture. 24. Lady 1: D.R. 66 Lady: Yes, I have had w fill of that. Son: But now I promise you to hurry. I'm madly impatient to get this treasure safely home. Let's take the three o'clock train. Will you give me the three thousand marks? Lady: I haven't them. Son: But the owner is here, in the hotel. lady: The bank couldn't pay me. The letter of advice has somehow been dOIayaie Son: I've promised him the money. Lacb'c Then you must return the picture until the letter arrives. Son: Can't we hurry it in any way? Lam’s @ I've written a telegram; I'll have it amt now. You see, we traveled so cpickly that (Phone rings) Yes? (To son) Someone from the bank. law: Send him up. (To son) They must be sending the monw. \ Son: 69 Call me as soon as you've got it. I'd rather keep an eye on the old man. Lady: I'll send for you. @ Son: Then I'll wait downstairs. (Takes look at picture-~exits) Cash ier: (Enters) 623 Lady: I hope the bank-- @ (Cashier reacts to_picture) Q; My visit to the bank was closely connected with this picture. Cashier: (Stari__ng) You! Lady: Do you find any point of resemblance? Cashier: (Smile) In the wrist! Lady: Are you interested? Cashier: I should to discover more. Lady: Do such subjects interest you? Scene II Cues ‘ Business 25. Cashier X to Lady. 26. Lady steps back and downstage. 27. Cashier X to L. of desk. 28. Cashier X to L. of Lady. 29. Lady X toward couch. 30. Cashier X to door R. 31. Cashier X to lady. 32. lady X above couch. 67 -~ “\ Cashier: (Looks at her) Yes-- (23 I understand them. lady: Are there anymore to be found here? You would do me a great favor--that' s more important than the money. Cashier: I have the monw. Lady: I fear at this rate w letter of credit will soon be exhausted. (Rather lightly) Cashier: (Brings out money) This will be enough. lady: I can only draw twelve thousand in all. Cashier: Sixty thousand! lady: But-n-how did you--? Cashier: That's my business. lady: How am I to"? . Cashiers We shall bolt. lady: @ Bolt? Where? Cashiers Abroad. Anywhere. Pack your trunk, if you've got one. You can start from the tation; I'll walk to the next stop and board the train. 27; We'll spend the first night in--a time- table. (Finds one on desk) lady: Have you brought more than three thousand from the Bank? Cashiers I have sixty thousand in my pocket-~50,000 in notes and ten thousand in gold. Lady: And 113' part of that is-- /'\ Cashier: (Counts some money out for her) Your part. Take this. (28,) Put it away. We may be seen. That's five hundred. Lady: @ Five hundred? Cashier: fire to come. All in good time. When we're in a safe place. 30 Here we must be careful. @ Hurry up--take it. No time for love-making. The wheel spins. An arm outstretched will be caught in the spokes. lady: @ But I need three thousand. Scene II Cues Business 33. Cashier X to lady. 34. lady X to end table L for purse. 35. Cashier takes off hat. 36. Cashier starts to put his om hat on couch. Sees Son's coat and hat. 37. Cashier picks up Son's hat and coat. 1: R. 38. Cashier X back to R. aid of couch. Cashier: Still rolling in bed? 39. Cashier X U.C. platform. Where's your room?... Warn Sound #2 41. Cashier X to L platform. Cashier X to above couch. 68 Cashier: @ If the police find them on you, you'll find yourself in Jaili lady: What have the police to do with it? Cashier: You were in the bank. Your presence filled the air. They'll suspect you: the link between us is clear as daylight. lady: I went to--your bank. Cashier: Cool as a cucumber-- Lacb': I demanded-- Cashier: You tried to. lady: I tried-- Cashier: You did. With your forged letter. Lady: 34 ' Isn't 11w letter genuine? Cashier: As false as your diamonds. lady: I offered than as security. Why should try precious stones be paste? Cashier: ladies of your kind only dazzle. lady: What do you think I am? I'm dark, it's true; a Southerner, a Tuscan. Cashier: @ From Monte Carlo. Lady: No, from Florence! @ Cashier: (Sees son's hat) Ha! Have I come too late? lady: Too late? Cashier: 37 Where is he? 1'11 bargain with him. Hog; h. willing. I have the means. How nmch shall I offer? G8,? How high do you put the indemity? How much shall I cram into his ‘ pockets? I'll bid up toils thousand. Is he as eep?@ Still rolling in bed? 40} Where's your room? 4 v" Twenty thousand-Jive thous extra for instant withdrawal! lacw: The gentleman is sitting inthe lounge. Scene II Cu as Business lady: We're all clumsy with the 19ft hand. Sound #2 - Recording of Cashier: And I--have stolen the money- Cashier: Now--at this very moment-- they've discovered everything! Warn Light #1 Warn Sound #3 42. 43. 45. 46. 47. 48. Cashier throws Son's hat and coat down on couch. Cashier X to desk. lady X toward Cashier a few steps. lady X to end table gets letter out of purse. Cashier X to desk chair and sits. lady freezes. lady out of freeze. lady turns to Cashier. 69 Cashier: Downstairs? gig Too risky! Too many people down there. (43 Call him up; '11 settle with him here. Ring for him; let 1! the Waiter hustle. Twenty thousand, cash down! (Begins to count money). ' lady: 6:4 Can ny son speak for me? Cashier: Your-neon! ! ! lady: I'm traveling with him. He's collecting mterial for a book on the history of art. That's what brought us from Florence to Gennany. Cashier: Son? lady: Is that so appalling? Cashier: But-~but--this picture-- lady: lucky find of his. My son is buying for three thousand mrks, 45 this was the amount needed so urgently. The owner is a wine dealer whom you will probably know by name... Cashier: Furs...silk...mstle-glitter. The air was heavy with perfume! lady: This is mid-winter. As far as I know, my way of dressing is not exceptional. Cashier: The forged letter-- Ledy: I was about to wire to my bank. Cashier: Your bare wrist-«on which you wanted me to put the bracelet- lady: We're all clumsy with the left hand. Cashier: (To himself) 69. And I--have stolen the money-- lady: '7) Will that satisfy you and your police? 48 W son is not u terly unknown in the art world. Cashier: Nowb-at this very moment--they've discovered everything. I asked for water to get the clerk out of the wayuand again for water to get the porter away from the door. The notes are gone, I'm an embazzler. I mustn't be seen in the streets; I can't go to the railway station; the police are warned, sixty thousand! I must slip away across the fields--through the snow--before the whole town is on my track! Scene II Business Cues 49. 50. 51. lady: You grow tedious, my dear 52. Sire Cashier: And now you must-- Light #1 - Blackout and 53. color wheel projection on to Cashier's exit. 54. Sound #3 - Steel Foundry 55. on (at 4) builds to (77) by Cashier's exit. Out on 56. Cashier's exit. ' 57e Cashier: I'm a thief and a criminal. Now you must!---after all that you must! 58. Warn Light #2 59. 60. lady X to D.C. of C.'p1atfonn. lady X to door R. Cashier rises. Cashier X to Lady, grabs her shoulders. Lady starts for phone on desk. Cashier stops her, shakes her. lady steps R. and down. Cashier X to couch and sits. Cashier puts head in hands and almost sobs. lady X to phone at desk. Cashier rises X to lady, stops her from calling. lacbr stands staring after Cashier, picks up receiver of phone as if to call, thm pits it back down and sits at desk. 70 lady: Be quiet! Cashier: I took all the money. Your presence filled the bank. Your scent hung on the air. You glistened and rustled--you put your‘naked hand in mine-«your breath came warm across the counter-«mama lady: Please-- Cashier: But now you must-- lady: L19 Tell me, are you married? Yes? (Cashier nods violenifly) Ah, that makes a difference. Unless I am to consider the whole thing a joke, you gave way to a foolish impulse. Listen. You can make good the loss. You can go back to your bank and plead a passing illness--a lapse of memory. I suppose you still have the full amount. Cashier: I've embezzled the money-- z‘“\k lady: @9: Then I can take no further interest in the mtter. Cashier: Lg} I've robbed the bank. lady: You grow tedious, my dear sir. Cashier: @’ And now you must-- lady: @3? The one thing I must do, is to-- Cashier: (5:43 After this you must-- lady: (39 Prepo st erous . m Cashier: L59 I've robbed for you. I've delivered myself into your hands, destroyed my livelihood. I've burned my bridges behind me. I'm a thief and a criminal. (59 Now you must! ...after all that you must! lady: G? I shall call my son. Perhaps he-- Cashier: 59‘ Aha! Call him, would you? Rouse the hotel, give the alarm? A fine plan! Clumsy. I'm not so easily caught at! that. Not in that trap. I have my wits about me, ladies and gentlemen. Yours are asleep. I'm always five miles ahead of you. Don't move. Stw wherp you are until I... (Puts money in pocket) ...(Exits). L59 Scene II Cues Business Is there still trouble about the money? Warn Light #3 Warn Sound #4 and #5 Warn Curtain Son: Stay where you are until I...(Exit) Sound "#2 "' 0111:. Light #2 - Acting area lights on. Color wheel out. Cashier: And when shall we have the three thousand harks? Sound #91 - Phone rings. Yes , imme- Son: Room 14 and 16. diately, please. Light #3 - Blackout. Lady: Sound , - Steel Foundg on. Brid e to Scene III. (no? Curtain. House on. Works on. Stage out . 61. 62. 63. 65. 66. 67. Son X to picture. Son X to C of C platfonn. Son X to U.L. side of desk. lady hands telegram to Son. Son X to downstage edge of C. plat- form. Phone stops him. law rises starts picking up papers on desk. Son X to picture and starts to cover it, puts on hat and coat. 71 Son: (Enters) (63 The man from the bank has just gone out. You're looking worried, Mother. Is the money--? Lady: I found this interview trying. You know, my dear boy, how money matters get on my nerves. Son: Is there still trouble about the payment? Lady: Perhaps I ought to tell you-— Son: @ Mzst I give back the picture? Lady: I'm not thinking of that- Son: @1 But that's the chief questiont Lady: I think I ought to notify the police. Son: Police? lady: @ Send this telegram to 11v bank. In the future I must have proper documents that will satisfy every one. Son: Isn't your letter of credit enough? Lady: Not quite. Go to the telegraph office for me. I don't want to send the porter. Son: @ And when shall we have the three thousand marks? (Phone rings). Lady: They're ringing me up already. Oh! Has arrived? And I'm to call for it nvself? Gladly. I'm not in the least annoyed. Yes, of course. Florence is a long way off. And then the Italian post- office--I beg your pardon? Oh, via Berlin-ma round about way. That explains it. Not in the least. Thank you. In ten minutes. Good-by. (To son) @6, All settled, my dear boy. Never mind the telegram. You shall have the picture. Y r wine dealer can come along. He'll get his money at the bank. 37) Pack up your treasure. We go straight from the bank to the station. (Phones) The bill, please. Rooms 14 and 16. Yes, immediately. P133337 Curtain Scene III Cues Business Beofre curtain: Warn Sound #1. Opening: Cashier enters from U.R. stops, looks back furtively, X to C Opening: Stage lights on. of C Platform, then looks back again, Work lights out. then straight front. Looks at hands. House lights out. Steel Foundry out 1. Cashier X to L sits on R of L with curtain. platform. Beam spots up with curtain. 2. Takes cuffs off. Cashier looks at hands: Sound #1 - 3. Loans back on platform and laughs. Tape recording of Cashier from "What a mrvelous contraption a 4. Puts chin in hands. mn is." to "I've achieved a complete incognito" - plain 5. Rises X to cuffs IIhich he has thrown recording. From: "Frost and D.R. and picks then up. damp breed chills." to "He's easily tracked." - filter. 6. Cashier I extreme R. From: "Lie theret” to "A catas- ' trophy in the tubsi Chaos!" - 7. Cashier lights cigarette. blank tape. From: "Strange: How keen my wits arel" to "I know I can play the game!" - plain re- cording. Scene: Cashier: 72 SCENE III Mid-day; a field deep in snow. What a narvelous contraption a man is. The mechanism runs in his joints-~silently. Suddenly faculties are stimulated, action results. My hands, for instance, when did they ever shovel snow? And now they dig through snow drifts without the slightest trouble. My footprints are all blotted out. 112 my om hands I have accomplished nothingness. I have achieved a complete incogiito. (Pause) @ Frost and damp breed chills. @ Before you know it you've got a fever and that weakens the will-~a man loses control over his actions if he's in bed sick. He's easily tracked. (Throws cuffs to ground.) Lie there! You'll be missed in the wash: Lamentations fill the kitchen! A pair of cuffs is missing: A catastrophy in the tubsl' Chaos: (Pause) G) (4) Strange: How keen my wits are! I see with infallible clearness. Here I work like md to efface my tracks and than betray melf by two bits of dirty linen. (5) It 1: always a trifle, an oversight-~carelessness that betrays the criminal: (Pause) €35 I under what's going to happen. I am keyed up to the highest pitcht I have every reason to expect momentous discoveries. The last few hours prove it. @ This morning a tmsted employee--fortunes passing through my hands. The Construction Company makes a huge deposit. At noon an out and out scoundrel. Up to all the tricks. The details of flight Scene III Cues Business Cashier: Cashier: I can prove I'm free man. I knOW’I can play the game. Sound #1 out. I release you from all obligations--you are dis- missed-you can get “warn Sound #2, #5,:#4. warn Light #1, #2, #5,-#4. B. 9. 10. 11. 12. 13. 14. Cashier'throws cigarette away. Cashier X U.P.. then toward C. of C. platform. Cashier X to L.C. of L platform and sits. Cashier rises. He takes off hat and mkes low mock bOWe He puts hat back on. Cashier’X'U.C. of C. platfonm. 73 carefully worked out. Turn the trick and run. Marvelous accomplishmentu-and only half the day gone. I am prepared for anything. All comers are welcome. I can prove I'm free man. I know I can play the game. Q I am on the march! S) There is no turning back. I march-so out with your trumps without any fuss. I have put sixty thousand on a single card-it must be trumps. I play too high to loose. No nonsense-~cards on the table--do you understand? After thisjou must, my beautiful lady. ® Your oue--my silken lady, give it to me, my re— splendent lady—or the some will fall flat. (M) Idiot-- and you think you can act! Perform your natural duties-u-breed children and don't bother the prompter. Q5.) Ah, I beg your pardon-n-you have a son-you are completely absolved. I withdraw my aspersions. (I?) Goodby, give ny compliments to the manager of the bank. His very glances cover you with @slime, but don't let that worry you. He's been robbed of sixty thousand. His roof rattles and 1eaks--never mind, never mind-«the Con- stmction Company will mend it for him. I release you from all obligationsu® you are dismissed--you can go! Stop! Permit me to thank you! What's that you say? Nothing to thank you for? Yes! There is. Not worth mentioning? You are joking. You are my sole creditor. How so? I owe you my life! Good God, you think I exaggerate? You have electrified me-Q-set me free! One step toward you and I utter a land of miracles. filth one leap I'm at the heart of the universe, the focus of - a . C A A . . . . C ‘ ‘ C e a U . o ' 1 ' n . . ' v e u a ' e n . I ‘ ‘ ‘ ‘ . _ U - . ' s < . U 0 . . u . u s . , . I I ° 0 Scene III Cues Bus iness Cashier: I have ready money. Come on-- mat's for sale? Sound #2 - Record of Cashier from: "Snow? to ..."Proposition is not bona fide." - Filter. Cashier (recording): not bona fide. Sound #2 out. Your proposition is Cashier: But I must pay. I must spend. Light #1 - Dim out all light by ”Let us trade." Cashier: ...flesh and bones-u-body and soul. Deal with me! Sound #3 - on Rite of Spring (side 4-5545) - Full. Cashier: ...let us trade. Sound #4 - on Thunder - 15 Intermit- tant til "I am not taken in as easily as flat.“ Big crash on skeleton's appearance and "You can shut your rag and bone shop. Light #2 - Lightningm-intermittant to "Have you been sitting behind me all this time eavesdropping?" Cashier: The earth is in labor-u-spring gales at last! Light #3 - Start dimming in skeleton and have all the way in by ... "shudders at my colossal deed of this morning." Cashier: Have you been sitting behind me all this time eavesdropping? Light #4 - Special C spots dim up to l. Warn sound #5 Warn light #5 Cashier: that. Sound #3 and #4 out. Sound #5 - on. Record of Cashier. “This procedure would be exceedingly simple" to "...as a last resort, that's debatable." - Filter. I am not taken in as easily as 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. Cashier X toward R. Takes out money. Cashier X D.R. and turns full back. Cashier falls on the floor. Cashier rises. Cashier X L. turns toward R. at and of speech. Cashier X to R of L platform. Cashier X U.C. of C. platform. Cashier X to L of C. platform. Cashier sits on platform. Takes out gun. 74 unimagined brightnesg. And with this lead in my breast pocket I pay cash for all favors. And now fade away. @ You are outbid. Your means are too limited. Remember you have a son. I'm paying cash down. (I? I have ready money. Come on--what's for sale? (Pause) Snow? Sunlight--stillness--Blue snow at such a price. Outrageous, profiteering. I decline the offer. Your proposition is not bona fide. (Pause) But I must pay! I must spend! I've got the cash! Where are the goods that are worth the whole sum? Sixty-thousand and the buyer to boot-- flesh and bones-body and soul. Deal wiih me! @ Sell to me-- I have the money, you have the goodsulet us trade. @ (The wind is blowing, the sun is overcast, distant thunder is heard.) The earth is in labor--spring gales at last! That's better! I knew xv cry could not be in vain. My demand was urgent. @ Chaos is insulted and shudders at ngy colossal deed of this morn- ing. (The skeleton appears, the wind and thunder die down). 21 Have you been sitting behind me all this time eaves-dropping? Are you an agent of the police? Not in the ordinary narrow sense—but comprising all. Police of Fate? Are you the stagger- ing all embracing answer to nw emphatic question? @ Does your rather well ventilated appearance suggest the final truth- anptiness? That's somewhat scanty-«very threadbare-in fact nothing! @ I reject the infornation as being too full of gaps-- Your services are not required. You can shut your rag and bone shop. I am not takm in as easily as that! (Pauseéi) Scene III Cues Business Cashier: Cashier: Cashier: But, as I said, as a last resort-mthat's debatable. Sound #5 - out. And excuse the coldness of my tone. ‘a'o'am sound #6, #7, #8. Warn light #6. l Warn Curtain. ifiy most profound respects. Sound #6 - Pool of thunder. Light #5 - Dim out skeleton and bring up acting areas. Sound #6 and Light #5 over: Sound #7 - Cashier recording "There I knew it wouldn't last.“ - Filter. Sound #7 over: Light #6 - Blackout Sound #8 - on - OverturLto Tannhauser (Orchestra) Bridge to Scene IV. Curtain House on Works on Stage out Cashier rises. Puts gun away. Takes int off. Puts hat on I toward D. L. 75 This procedure would be exceedingly simple--it’s true-u-you would spare no further entanglements. But I prefer complica- tions. So farewell-~if that is possible, to you in your condition! I still have things to do. When one is travelling one can't enter every house on the road--not even at the friendliest invitations. I still have many obligations to fulfil before evening. You can't possibly be the first-~perhaps the last--but even then only as a last resort. I won't want to do it. But, as I said, as a last resort--that's debatable. Ring me up at midnightm-ask Central for my number. It will change from hour to hour. (is) And excuse the coldness of my tone. We should be on friendlier toms, I know. We are closely bound. (2; I really believe I carry you about with me now. So, you see, we have come to a sort of understanding. That is the beginning which gives one confidence and backbone to face the fuimre, whatever it is. I appreciate that fully. (2'9 My most profound respects. (After a peal of thunder and a last gust of wind the skeleton disappears. The sun comes out again) There- @1 I knew it wouldn't last. Scene IV Cues Business Before Curtain: Warn sound #1 Opening: Mother U.L. watering geraniums. and #2. Daughter 2 playing piano. Daughter 1 sits chair R. embroiders. Wife sweeps Opening: Stage lights on. the C. platform. Business timed with Work lights out. music. Wife sweeps 3 times exits. Mother House lights out. waters flowers 3 times, sits rocking Tannhauser (orch.) out chair U.L. Dialogue timed with msic: with curtain. Each actor counts 3 before picking up cue. Beam spots up with curtain. 1. Mother rocks in rhythm. Sound #1 - Clock tick on with 2. Wife X to table R. Duets. curtain. (l4) 3. All stop activity. Focus in freeze on Sound #2 - Piano Tannhauser on with clock for count of 4. curtain. (5) 4. All come out of freeze, resume previous lst Daughter: Oh, not yet, Mama: activity. Sound #1 and #2 - out. 5. Wife X to C of C platform. Wife: No, it's not time yet to 6. Wife X to Mother. fry the chops: 7. Daughter 1 rises X toward clock. Sound #1 and #2 - on. 8. Wife X toward clock. 9. Daughter 1 X to L. step, sits R 616. of it. 2nd Daughter; Is that Father?: 10. Daughter 2 stops playing, looks toward doorway U.C. Sound #2 - auto 11. Daughter 1 stops sewing looks toward doorway U.C. 12. Wife stops in U.R. door and looks toward U.C. door. 13. Mother stops rocking, looks. 14. Daughter 2 rises. Loans toward door. 76 SCENE IV Scene: Parlor in Cashier's house. Mother: (3;) What's that your' re playing? lst Daughter: The Overture to Tannhauser. Grandma: Mother: "0 Tannenbaum" is another pretty piece. Wife: (Enters D.R.) @3 It‘s time I began to fry the chops. lst Daughter: Oh, not yet, Mama. (3’ Wife: @1. No, it's not time yet to fry the chops. Mother: What are you embroidering now? lst Daughter: Father's slippers. Wife: (To Mother) (9’ To-day we have chops for dinner. Mother: Are you frying them now? Wife: (9) Plenty of time. It's not twelve o'clock yet. lst Daughter: ('0 Not nearly twelve, Mam. Wife: (83 No, not nearly twelve. Mother: When he comes, it will be twelve. Wife: He hasn't come yet. lst Daughter: 6) When Father comes, it will be twelve o'clock. Wife: Yes. (Exit U.R.) 2nd Daughter: Q9" Is that Father? lst Daughter: {11 Father? Wife: (Enters U.R.) @x’ Is that my husband? Mother: (19 Is that 11w son? 2nd Daughter: @) Father! Cues Scene IV Bus iness Cashier's entrance: Warn Sound #3 Wife: Has there been a happy event in his family?: Sound #1 (Clock) - out. Sound #3 - on: Record of Cashier's voice from "He has his eye on a new mistress" to "...our snug little manager1"-- Plain Recording (at 14) Cashier: "...our snug little mnagerI"-- Sound #3 - out. Sound #1 - on. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 2'7. 28. 29. Daughter 1 rises. Loans toward door. Wife takes step forward, leans toward door. Mother rises, leans toward door. Cashier stops inside door. Wife takes a few steps toward him. Cashier X to Mother seats her. Simul- taneously the daughters sit. lst at piano. 2nd on step. Wife X to table - dusts. Cashier X to downstage edge of anal]. Ce platform. Cashier removes gloves. Cashier X to Nether. Wife X to R. of table. Cashier X to L of table. Daughter 1 gets Atlas from piano takes it to Cashier and X back and sits on floor below piano. Cashier looks at Atlas. X above table. Cashier throws Atlas on table. From "He has his eye on a new mistress." to "...the rest sounds like Canaan.” -- All freeze, except Cashier. When Daugh- ter 1 gets Atlas-~others stay frozen. From "Tus--Canaan." to "...legs in the air...our snug little mnagert"--the whole group remains frozen. 77 lst Daughter: G} Father! Wife: Q6) Husband! .~- Moths r: {'9 Son! Cashier: (Enters U.C.) 65’ Wife: Q9) Where do you come from? Cashier: From the cemetery. Mother: Has somebocbr died suddenly? Cashier: L229 You can have a sudden death, but not a sudden burial. Wife: (2:; Where have you come from? Cashier: From the grave. I burrowed through the olods with my forehead. Qg‘ It was a great effort to get through-man extraordinary effort. 231 I've dirtied my hands a little. You need a good grip to pu l yourself up. You're buried deep. Life keeps dumping dirt on you. Mountains of it--dust—-ashes--the place is rubbish heap. The dead lie at the usual depth--three yards. The living keep on sinking deeper and deeper. Wife: You're frozen from head to foot. Cashier: Thawed. Shaken by stems, like the Spring. The wind whistled and reared: I tell you it stripped off my flesh until my bones were bare-a skeletonu-bleached in a minute. A boneyard! At last the sun welded me together again. And here I am. Thus I've hem renewed from the soles of w feet up. Mother: Have you been out in the open? Cashier: '23: In hideous dungeons, Mother. In bottomless pits beneath monstrous towers: deafened by clanking chains, blinded by darkness! Wife: The bank nmst be closed. QED You've been celebrating with the mnager. Has there been a happy event in his family! Cashier: C29 He has his eye on a new mistress. Italian beauty-esilks and furs-~where oranges bloom. Wrists like polished ivory. Black tresses--olive complexion. Diamonds. Real...all real. ,1, Tus...tus...the rest sounds like Canaan. Fetch me an atlas. Q7,” Tue-Canaan. Is that right? L253) Is there an Island of that name? A mountain? A swarm? Geography can tell us everything. But he'll burn his fingers. She'll turn him down-«brush him off like a bit of dirt. There he lies...sprawling on the carpet...legs in the airbag} our snug little manager! Scene IV Cues Business Mother: Cashier: Your coat's torn in the bfiCke Warn Sound #4 No, stay here. It will do. Play something.: Sound e514 - Piano on (at 5). 30. 31. 32. 33 . 34. 35. 36. 37. 38. 39. Cashier I to hat rack. Cashier takes hat off. Daughter 2 X to R. of Cashier. Daughter 1 X to L. of Cashier. Daughter 1 and 2 X to above rocking chair. Cashier hangs up hat and coat. Cashier X to C stage. Cashier takes off suit coat. Daughter 1 exits D.L. Daughter 2 exits U.R. Both return immediately. Cashier pats on smoking jacket. Cashier sits chair R. Daughter 1 goes back to piano. Daughter 2 goes back to L. step and sits and embroiders. Wife stands behind Cashier's chair. Wife gives him a light. Mother goes to sleep. Cashier takes wife's hand. 78 Wife: The bank is not closed? Cashier: @ Never, Wife. Prisons are never closed. The procession is endless. An eternal pilgrimage. Like sheep mshing into the slaughter house. A seething mass. No escape--none--unless you jump over their backs. Mother: Your coat's torn in the back. Cashier: @ And look at my hat! Fit for a tramp. 2nd Daughter: The lining's torn. Cashier: Look in my pockets. Left...right! (lst and 2nd daughter pull out cuffs.) Inventory. .-’-~‘ Daughters: 653 Your cuffs. Cashier: @ But not the buttons. Hat--coat--torn-what can you expect-- jumping over backs. They kick-they scratch--hurd1es and fencesm-silence in the pen--order in the fold-~equa1 rights for all. But one jump-~don't hesitate-wand you are out of the pen. One mighty deed and here I am! Q; Behind me nothing and before me--what? Wife: (Stares at him) Mother: He's sick. (Wife goes toward D.R. door. Cashier stops hen) Cashier: (To daughter 1) @ Get my jacket. 1W slippers. (To 2nd) My pipe. (Girls bring stuff). ""‘""‘ Mother: You oughtn't to smoke, when you've already been-- (Wife motions to Mother to be quiet.) ““5“. Wife: Qe Shall I give you a light? Cashier: @ Light up! Wife: Does it draw? Cashier: I shall have to send it for a thorough cleaning. There must be some bits of stale tobacco in the stem...Sometimes way in... there are obstructions. It means I have to draw harder than is strictly necessary. (Ii/B ' Wife: Do you want me to take it now? Cashier: 69) No, stay here. It will do. (To 2) Play something. 2nd Daughter: (Plays) Scene IV Cues Business Cashier: What piece is that? 40. Daughters 1 and 2 run out U.R. Warn Sound #5 41. Daughters l and 2 return—back same positions. 42. Wife stops D.R. 43. Cashier rises. 44. Wife X few steps L. 45. Cashier takes off smoking jacket and puts on suit coat. Cashier: Open the doors. Sound #4 - out. Daughter 2 re-enters sits at piano. Sound #4 - on. Sound #5 - on. Record of Cashier from: "Grandmother nodding in an armchair." to "...piano unopened for a year." - Filter (14). Cashier recording: "Grand- mother nodding in an arm chair." Cashier recording: "piano unopened for a year": Sound #5 - out. Sound #4 - out. Warn Light #1 Warn Sound #6 79 Cashier: What piece is that? 2nd Daughter: The Overture to Tannhauser. Cashier: (to daughter 1) Sewing? Mending? Deming? lst Daughter: Entroidering your slippers. Cashier: Very practical. And you, Grandma? Mother: (Feeling universal dread) I was just having forty winks. Cashier: In peace and quiet. Mother: Yes, nw life is quiet now. Cashier: And you, Wife? Wife: I was going to fry the chops. Cashier: Musk-kitchen. Wife: I'll fry yours now. (Wife exits) Cashier: K117011011! (To daughters) Open the doors. (Daughters exifi). GO Wife: (Enters) Are you too warm in here? (Exits). (412 Cashier: Grandmother nodding in an armchair. Daughters-mat the table embroidering...playing Wagner. Wife busy in the kitchen. Four walls...family life. Cozy...a11 of us together. Mother-- son..chi1d under one roof. The nagic of familiar things. It spins a web. Room with a table. Piano. Kitchen...daily bread. Coffee in the morning...chops at noon. Bedroom...beds... in...out. More magic. In the end flat on your back...white and stiff. Table pushed against the wall...in the center a pine coffin...screw lid...silver mountings...but detachable...a bit of crepe on the 1amp...piano unopened for a year. (2nd daughter runs ozying into kitchen) "" Wife: (Enters) @ She is practising the new piece. Mother: Why doesn't she try something simpler? ® (Cashier knocks pipe cute) \u- Wife: Q1; Are you going to the bank? Are you going out on business? Cashier: 45} Bank-«business? No. Wife: Then where are you going? Scene IV Cues Business Cashier: That's the question Wife. 46. Cashier X to bat rack for hat and overcoat. ' Sound #1 - out. 47. Daughter 1 X below Mother. Light #1 - Blackout and Color wheel on. 48. Daughter 2 X to R of Mother. K116610e Sound #6 - on -- Steel andry Starts at 4 builds to 8 on 49. Wife X above Mother. Mother's death, goes to 6 on "Full stomach, drowsy wits, then 50. Cashier X to D.R. to 3 on recorded speech, then to B on Cashier's exit. 51. Cashier X to above table. Cashier: I've climbed down from wind- 52. Wife X to chair R. and sits. swept trees to find an answer. During recorded speech of Cashier's all freeze in position around Warn Sound #7. Mother. Warn Light #2 53. Bank Manager I to Wife. Cashier: Full stomach, drowsy wits. 54. Daughters break freeze and turn toward Wife. Sound #7 - on -- Recording of Cashier from "For once in his 55. Wife rises and turns full back. life a nun goes out before his meal--" to "...if my day is to be well spent" (16%;) — Filter. Cashier: Recording -- "There's no time to lose if my day is to be well spent." Sound #7 - Cute Cashier's exit: Sound #6 - out. Light #2 - Color wheel out. Acting area lights - on. Warn light #3 Warn Curtain Wife: ...My husband has left me. Light #3 - Blackout. Curtain. House on. Works on. BO Cashier: (43 That's the question, Wife. I've climbed down from wind- swept trees to find an answer. I came here first. Warm and cozy, this nest; I won't deny its good points: but it doesn't stand the final test. No! The answer is clear. This is not the end of my journey, just a sign-post: the road leads further one Wife: Husband, how wild you look! Cashier: Like a tramp, as I told you. Never mind. Better at ragged way- farer than an empty road! Wife: But, it's dinner time. Mother: And you're going out, just before a meal. (Beats air suddenly with her arms, and falls senseless.) lst Daughter: @ Grandma. 2nd Daughter: Grandma (From kitchen--then enters) QB, Mother. @9 Cashier: I smell the pork chops. Full stomach, drowsy wits. 50‘. 51 / For once in his life a man goes out before his meal-wand that kills her. Grief? Mourning? Overflowing tears? Can they make me forget? Are these bonds so closely wovm that when thqr break there's nothing left to me in life but grief?--Mother- son! (Pulls roll of money out of pocket and weighs it--then puts it emf Grief does not paraTIyze...the eyes are dry and the mind goes on. There's no time to lose, if my day is to be well spent. (Lays well wornpuree on tablg.) Use it. There's money honestly earned. That may be worth remembering. Use it. (Exit U.C.) (Wife and daughters stunned) Q53) ""'" Bank Mamger: (Enters U.C.) €53 Is your husband at home? Has your husband been here. I have to bring you the painful news that he has absconded. We missed him some hours ago: since then we have been through his books. The sum involved is sixty thousand marks, deposited by the Realty Constmction Co. So far, I've refrained from naking the nutter public, in hope that he would come to his senses and return. This is my last attempt. You see I've made a personal call. Has your husband been here? (Sees jacket, pipe) It looks as though (Looks at dead woman) I see! In that case...I can only express 11y personal sympathy: be assured of that. The rest must take its course. (Exit. U.C.) ' Daughters: GE Mother-- Wife: g9} Don't screech into m ears! Who are you? What do you want? rats--monkeys. What have you to do with me? Mr husband has left me. Curtain Scene V Cues Business Warn Sound #1 and #2 Opening: Stage lights on. 'Work lights out. House lights out. Sound #1 - crowd noise - on with curtain. (10) Sound #2 - Dance of Rose Maidens (13) - on right after curtain. Opening: Gentleman 2 and 3 at C. look- ing through binoculars toward R. 1. Gentleman l X between 2 and 3. 2 and 3 step aside for l. 2. 2 and 3 drop binoculars. 3. 2 looks through binoculars. 4. l lets binoculars drop. 5. 3 looks through glasses. 6. 1 looks through binoculars. 7. 3 lets binoculars fall. 8. 2 lots binoculars fall. 9. l lets binoculars fall. 10. 3 takes out handkerchief. 11. 1 takes out handkerchief. 12. 2 takes out handkerchief. 13. All polish monocles. l4..All blow'on.monocles. 15. l polishes. 16. 2 and 3 polish. l7. 1 puts monocle on. 18. S puts monocle on. 19. 2 puts monocle on. 20. Gentleman 5 X to R.C. Bl SCENE V Scene: The steward's box of a velodrome during a cycle race meeting. First Gentleman: Cl Is everything ready? (Enters) Second Gentleman: ® See for yourself. First Gentleman: (Looking through glasses) The palms-- Second Gentleman: What's the mtter with the palms? (3' First Gentleman: 4': I thought as much. Third Gentleman: But what's wrong with them? (5? First Gentleman: Q Who arranged them like that? Third Gentleman: C; Crazy. Second Gentleman: Upon my soul, you're right! @ First Gentleman: @ Why was nobody responsible for arranging them? Third Gentleman: ® Ridiculous. Simply ridiculous. First Gentlemen: (ll Whoever it was, he's as blind as a bat! Third Gentleman: Q2 0r fast asleep. Second Gentleman: €33 Asleep. But this is only the 4th night of the races. Q5, First Gentleman: The palm-tubs must be pushed on one side. £3 Second Gentleman: Will you see to it? £6 First Gentleman: @771 Right against the wall. There must be a clear View of the whole track.(Exit). Third Gentleman: €53, And of the royal box. (Exit). Second Gentleman: @5 I'll go with you. (Exit). Fourth Gentleman: (Enters fires a pistol and exits). Fifth Gentleman: (Enters with megaphone). (23 Cues Scene V Business First Gentleman: no more. 'We're tiring them out. warn Sound #3 o o o othe second. to thirty marks. Fourth Gentleman: Sound #1 (Crowd) toll First Gentleman: Offt Sound #2 - out. Sound #3 - Danse Russo on (7) Sound #1 (Crowd) to 10. The box is still empty. First Gentleman: Sound #1 (Crowd) to 11. Prizes in cash-- to marks for No. 11. 30 marks for NO. 40 Fourth Gentleman: Sound #1 (Crowd) to 12. Cashier's entrance: Sound #3 - out. Sound #1 (Crowd) to 10. Three'times round, 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. Gentleman 3 X to L of 5. 5 puts megaphone on floor between them. 3 and 5 look through binoculars. Gentleman l X D.L. Looks through binoculars. 3 and 5 drop binoculars. 5 hands 3 megaphone who hands it to 4. 4 X to C of wheel. Gentleman 4 X to D.R. 1 drops glasses. 2 looks through his. 2 drops binoculars. 1.3.4.5 raise binoculars and look R. All lean toward track. All look toward C. N N N L. N N N C. N N N R. N N N C. I. N N L. N W N C. N N "T R. " " " R. and up. 3 looks down. 5 drops binoculars and exits. l X to 4 takes out notebook and writes down result as 4 announces it through megaphone. Third Gentleman: Fifth Gent leman: First Gentleman: Fourth Gentleman: First Gentleman: Second Gentleman: First Gentleman: Second Gentleman: Third Gmtlenan: Fourth Gentleman: Fifth Gentlanan: Third Gentleman: Fourth Gentleman: Fifth Gentleman: Third Gentleman: Fifth Gentleman: Fourth Gentleman: First Gentleman: Third Gentleman: Fourth Gentleman: 82 (Enters) How rush is the prize? Ql/ (gé/ Eighty marks. Fifty to the winner. thirty to the second. (Enters) 323 Three times round. no more. We're tiring them out. @122 (Enters) (23' A prize is offered of eighty marks. e winner to receive fifty marks. the second thirty marks. @ (Applause) (Second enters. carrying a flag) We can start now. (2] Not yet. No. 7 is shifting. (35‘ Off: é9. (Lowers flag. (Exits) Race begins. falling_noise). Much r1 s ing_apd The little fellows must win once in a while. It's a good thing the favorites are holding back. Q39 They'll have to work hard enough before the night's over. Q5} The riders are terribly excited. 6:2 And no wonder. 63;; Depend upon it. the championship will be settled to-night. @ The Americans are still fresh. Q53, Our lads will make them hustle. @ Let's hope his royal highness will be pleased with victory. Q5} The box is still empty. Q} Such applause! The Result! (Exits) $5; Prizes in cash--50 marks for No. 11. 30 marks for NO. 40 (Second Gentlanan enters with Cashier who is now in eveningclothes.) Scene Cues Business 40. 41. 42. 43. 44. 45. 46. 47. 49. 50. 51. 52. Cashier stops in L of entrance. Gentleman 2 enters beside Cashieru Cashier X L. 1 puts book and pencil away. 2.x to Cashier. Cashier X‘to edge of L platform. 1 and 4 stare at Cashier. They move a bit upstage. 1 and 4 turn their backs on Cashier. 1 and 4 turn and look at Cashier' through monocles. l raises nose in air and X to CflShiOI'o 1 and 4 offer to shake hands with Cashier. Cashier X to R. of entrance. .All 3 Gentlemen counter L. 1,2,3 scratch heads. Cashier X to C of wheel and looks at thko 83 Cashier: fig) Tell me what this is all about? Second Gentleman: (45) I'll introduce you to the stewards. Cashier: My name doesn't matter. Second Gentleman: But you ought to meet the management. 0' ‘ Cashier: '42 I prefer to retrain incognito. Second Gentleman: 619) But you seem interested in these races. Cashier: I haven't the slightest idea what it's all about. What are they doing down there? I can see a round track with a bright moving line, like a snake. (44/ How one comes in, another falls out. Why is that? (4;) Second Gentleman: They ride in pairs. While one partner is pedaling-- Cashier: The other blockhead sleeps? @6/ Second Gentleman: He's being massaged. Cashier: And you call that a relay race? Second Gentleman: Certainly. Cashier: You might as well call it a relay rest. (4} First Gentleman: @) Aheml The enclosure is reserved for the manage- ment. Second Gentlanan: This gentleman offers a prize of a thousand marks. First Gentleman: (497 Allow me to introduce myself. Cashier: (59) On no account. Second Gentleman: The gentleman wishes to preserve his incognito. Cashier: Impenetrably. Second Gentleman: I was just explaining the sport to him. Cashier: Yes, don't you find it funny? First Gmtlenan: How do you mean? 51 Cashier: QS'Z/ Why, this relay rest. Scene V Cues Business Fourth Gentleman: ...200 mrks to the second; 1000 marks in all. Sound #1 - up to 12. Second Gentleman: 0n the pace of the riders, you mean? Sound #1 - fade back to 10. Second Gentleman: That would take too long to count. Warn Sound #4 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 4 X to Cashier. 4 X D.R. 2 puts monocle on. 3 stops R.C. 2,3,1 point at Cashier nod heads. 3 X U.R. 2 X to Cashier. 3,4,1 nod. 1,2,3,4 put on monocles watch Cashier in amazement. 1,2,3,4 1309?. 5 stops at R. of entrance. Cashier turns away. 1,2,3,4 shrug--1ook at 5. 3 X to downstage edge of R. plat- forme 5 X between 4 and 3. 84 Fourth Gentleman: 6:) A prize of a thousand market For how many laps? Cashier: As many as you please. Fourth Gentleman: How much shall we allot to the winner? Cashier: That's Your affair. (35} Fourth Gentleman: Eight hundred and two hundred (Through megaphone) An anonymous gentleman offers the following prizes for an open race of ten laps: 800 marks to the winner: 200 marks to the second: 1000 marks in all. (loud applause) Second Gentleman: Q55) But tell me, if you're not really interested in this sort of thing, why do you offer such a big prize? Cashier: Because it works like magic. Second Gentleman: 0n the pace of the riders, you mean? Cashier: Rabbish. Third Gentleman: (Enters with flag) 63) Are you the gentleman who is offering a thousand marks‘l. Cashier: In gold. (SJ? Second Gentleman: Q5} That would take too long to count... Cashier: Watch me @493 (Counts rapidly) That makes less to carry. Second Gentleman: I see you're an upert. Cashier: A mere detail, sir. (Give money) Accept payment. Second Gentleman: 60‘ Received with thanks. Fifth Gentleman: (Enters) 61K1Where is the gentleman? Allow me to introduce-- Cashier: \62/ Certainly not. Third Gentleman: (With flag) (69' I shall give the start. Fifth Gentleman: @ Now we shall see a hassle for the championship. Third Gentleman: All the cracks are in the race. Cues Scene V Business Fourth Gentleman: Off: Cashier: Sound #1 - 120 Sound #4 - on - Rite of S rin (side 2 - at 6 One universal yell from every tier. Pandemonium. Climax. Sound #1 - 12. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 3 drops flag. All five look through binoculars toward R. Cashier grabs 2. 2 looks through his binoculars again. All 5 Gentlemen look C. All 100k Le fl 1‘ R. " " c. N R L. " " c. N N R. R N C. 1 takes binoculars down and turns to 2, then puts binoculars up again. 2 listens to Cashier. All look R.'with exception of 2. Puts binoculars back up. Cashier points toward D.R. and up. All focus on point. 3 exits R. All look at track again and look L. 4 Gentlemen look C. 4 Gentlemen look R. 85 Fourth Gentleman: @‘ Off! (Outburst of applause). Cashier: @ Now I'll answer your question for you. Look up! Second Gentleman: But you met keep your eye on the track, and watch how the race goes. Q51 Cashier: Childish, this sport. @ One rider must win because the other loses. @ Look up, I say! It's there among the crowd, that the magic works. Look at them-«three tiers--one above the other-u-packed like sardines-«excitement rages. 60) Down there in the boxes the better classes are still controlling then- selves. They're only looking on but, oh, what looks wide eyed-- staring. C7; One row higher, their bodies sway and vibrate. You hear exclamations. Way up-no restraint! Fanatic-myells— bellowing nakedness-ma gallery of passion. @ Just look at that group! Five times mtwined: five heads dancing on one shoulder, five pairs of arms beating time across one howling breast! At the head of this monster is a single man. He's being crushed...mangled...thrust over the railing. His hat, crumpled, falls through the murky atmosphere...flutters into the middle balcony, lights upon 92 lady's bosom....There it rests daintily...so daintily! Q31 She'll never notice that hat: she'll go to bed wi‘lii it: year in, year out, she'll carry this hat upon her breast! (74 First Gmtleman: The Dutchman is putting on speed. L7}: Cashier: The second balcony joins in. An alliance has been made: the hat has done the trick. The Lady crushes it against the rail- ing. Pretty lady, your bosom will show the marks of this! There's no help for it. It's foolish to struggle. You are pushed to the wall and you'v got to give yourself, just as you are, without a munmzr. '70 Second Gentleman: Do you know the lady? é} Cashier: Look! ([8 Some one is being pushed over the railing. He swings free, he loses his hold, he drops-- 65; he sails down into the boxes. What has become of him? Vanished! Swallewed, stifled, absorbed! A raindrop in a maelstrom! @9 First Gentleman: The follow from Hamburg is making up ground. Cashier: The boxes are frantic. The falling nan has set up contact. Re- straint can go to the devil. Dinner-jackets quiver. Shirt fronts begin to split. (81 Studs fly in all directions. Lips are parted, jaws are rattling. Above and below-all distinctions are lost. 'One universal yell from every tier. Pandemonium. Clim. @ Cues Scene V Business Second Gentleman: The German wins! Sound #4 out. - at 8. Second Gentleman: Sound=#l - 10. Fourth Gentleman: by NOe 10 Sound=#l - 12. Second Gentleman: He wins! He wins! A marvelous spurt! ...200 marks won we must give them a 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. chance to breathe: Sound=#l - 10. 4 Gentlemen jump up and down in unison. 2 X to Cashier slaps him on the back. Cashier moves upstage to L. of entrance. 2Xt05. 1 starts out, Cashier stops him. 2 starts out, Cashier stops him. Cashier X down and toward R. 3 X to C. 1,2,5,4 rub hands and nod. 3 X to 5. All shake heads. Say: Tch Cashier X to R. of entrance. Gentlemen l,2,3,4, get out note books and pencils and write down result. 4 and 5 light cigars. 2 puts book and pencil away. 3 puts book and pencil away. 1,4,5 put books and pencils away. 1,2,3 light cigars--4 and 5 puff on theirs. 86 Second Gentleman: (83, He wins! He wins!- The German wins! (E4; What do you say to that? Cashier: <89) Stuff_and nonsense. Second Gentleman: @: A marvelous spurt! Cashier: Marvelous trash! First Gentleman: (Ei ‘We'll just make certain-- Cashier: Have you any doubts about it? Second Gentleman: @g The German was loading, but-- Cashier: Never mind that, if you please. (Pointin to audience) up there you have the staggering fact. (89‘ Watch the supreme effort, the lazy dizzy height of accomplishment. From boxes to gallery one seething flux, dissolving the individual, re- creating-passion! Differences melt away, veils are torn away: passion rules! The trumpets blare and the walls come tunbling down. No restraint, no modesty, no motherhood, no childhood-- nothing but passion! There's the real thing. That's worth the search. That justifies the price! Third Gentleman: (Enters) The ambulance column is working splendidly. @0 Cashier: Is the man hurt who fell? Third Gentleman: @ Crushed flat. Cashier: @ When life is at fever heat some must die. Fourth Gentleman: (With megaphone) Result, 63 800 marks won by No. 2: 200 marks won by No. l. (Loud applause.) Fifth Gentleman: The men are tired out. @ Second Gentleman: é‘S You could see the pace dropping. Third Gentleman: @ They need a rest. Cash ier: I've another prize to offer. First Gentleman: @ Presently, sir. Cashier: No interruptions, no delays. Second Gentleman: We must give them a chance to breathe. 68 Cues Scene V Business Fourth Gentleman: This is a profitable visitor. wam Sound #50 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. All turn toward him-~amazed. 3Xto 1, 5,4Xto 2Q Cashier X R.C. and up. 1 X to Cashier. 2 5 1 shakes hands with 3. shakes hands with 5. pokes 4 in ribs. turns to rest of Gentlemen. exits L. exits L. exits L. and 4 mcit t. Salvation Iass X to Cashier. Cashier looks at crowd, waves her away. 87 Cashier: Bah! Don't talk to me of those fools! Look at the public, bursting with excitement. This power mstn't be wasted. We'll feed the flames: you shal asee them leap into the sky. I offer fifty thousand marks. 99/,»3 Second Gentleman: Do you mean it? Third Gentleman: How much did you say? Cashier: Fifty thousand. Everything. Third Gentleman: It's an unheard of sum-- (150; Cashier: The effect will be unheard of. ,Warn your ambulance men on every floor. €01 First Gentlemn: 102 We accept your offer. The contest shall begin on the box is occupied. Second Gentleman: 10;»: Capital idea! . Third Gentleman: @2‘ Excellent! Fourth Gentleman: This a profitable visitor. Fifth Gentleman: 105 A paying guest. Cashier: (To lst Gentleman) What do you mean-«when the box is occupied? First Gentleman: 'll talk over the conditions in the committee room. 106 I suggest 30,000 to the winner: 15,000 to the second: 5000 to the third. Second Gentlelmn: {102-k Exactly. Third Gentleman: €09) Downright waste, I call it. Fifth Gentleman: (193: The sport's mined for good and all. First Gentleman: 1192‘ As soon as the box is occupied. (Salvation Lass mters Re) S.L.: 111 The War Cry! Ten pfennigs sir. Cashier: @ Presently, presently. S.L.: The War Cry, sir. Cashier: What trash are you trying to sell? S.L.: The War Cry, 811'. Cues Scene V Business Cashier: Cashier: Fourth Gentleman: Cashier: Cashier: You're too late. The battle's in full swing. Sound #5 - Rite of Spring (Side 4) - on at 5. Gold! Gold! Gold! Sound #6 - goes to 6. The winner to receive 30,000 marks. Sound #1 - goes to ll. There we have it. Sound #1 - 120 warn light=#l,:#2. ‘Warn Sound #6 I can pay with a good heart: Sound=#1 - out. Sound=#5 - out. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. Cashier turns to her. Cashier X D.L. Salvation Lass X to Cashier. Cashier X R. to megaphone which 4 left there. Salvation Lass X to Cashier. Cashier drives her to C exit and she emits all the way L. l,2,3,5 enter'and form.a diagonal. line on L. stage. 4 X to Cashier. 4 X to C. of wheel. 4 X to upstage side of line. Cashier X R.C. 88 Cashier: You're too late. @ The battle's in full swing. S.L.: (Shaking tin box) Ten pfennigs, sir. Cashier: So you expect to start a war for ten pfennigs? S.L.: Ten pfennigs, sir. Cashier: @‘ I'm paying an indemnity of 50,000 marks. S.L.: @ Ten pfennigs. Cashier: Yours is a wretched scuffle. I only subscribe to pitched battles. S.L.: Ten pfennigs. Cashier: @ I carry only gold. S.L.: @ Ten pfennigs. Cashier: Gold-- S.L.: Ten-- Cashier: (Bellows at her through meiaphoneliéjlfé Gold! Gold! Gold! (SOL. ex1tSe Gentlm enters) 119 ‘ Fourth Gentlanan: @Q? Would you care to announce your offer yourself? Cashier: No, I'm a spectator. You stun them with the 50,000 (Hands him megaphone) Fourth Gentleman: (Through megaphone) 623 A new prize is offered by the same anonymous gentleman. (Cries of Bravo!) the total sum is 50,000 mrks. 5,000 marks to the third, 15,000 to the secon The winner to receive $0,000 marks (Ecstasy.) @: Cashier: (Stands apart, noddin head) QZIS} There we have it, the pinnacle. ' The summit. The climbi'hg hope ulfilled. The rear of a spring gale. The breaking wave of a human tide. A11 bonds are burst. Up with the veil s--down with the shams! Humanity-“free humanity, high and low, untroubled by class, unfettered by nanners. Unclean, but free. That's a reward for my impudence (Pulls out bundle of notes) I can pay with a good heart! (gidden silhnoe. The Gentlemn have taken off their hats and stand with bowed heads) Fourth Gentleman: (Coming to Cashier) If you'll hand me the money, we can have the race for your prize immediately. Cues Scene'V Business Cashier: Cashier: Thank you! I don't intend to waste my money. Light #1 - Blackout. Color wheel - on. Sound #6 - Steel Foundgz«- one Let deeds speak for me. Light #2 - Blackout Color Whee1. Sound=#6 - plays through curtain to Scene'VI. Curtain. House on. 'Works on. Stage out. 124. All gentlemen put hats back on. 125. 4 Gentlemen in line look at eadI other indignantly. 126. 4 Gentleman in line tum toward Cashier angrily. 127. Cashier pushes Gentleman 4. 89 Cashier: What's the meaning of this? Fourth Gentleman: Of what, my dear sir? Cashier: Oh this sudden, unnatural silence. Fourth Gentleman: Unnatural? Not at all. His Royal Highness has just entered his box. Q25 Cashier: Highness....the royal box...the house full. Fourth Gentleman: Your generous patronage comes most opportunely. Cashier: Thank you! I don't intend to waste my money. Fourth Gentleman: What do you mean? Cashier: I find the sum too large....as a subscription to a Society of back benders! (125; Fourth Gentlemn: But pray explain... Cashier: This fire that was raging a moment ago has been put out by the boot of his Highness. You take me for crazy, if you think I will throw one single penm' under the snouts of these grovelling dogs, these crooked lackeys! A kick where the bend is greatest, that's the prize they'll get from me. @9‘ Fourth Gentleman: But the prize has been announced. His Royal Highness is in his box. The audience is showing a proper respect. What do you mean? Cashier: @ If you don't understand my words, let deeds speak for me. (Exits. Fourth Gentlanan rushes after him, but is restrained by other_s_._) Curtain Scene VI Cues Business Before murtain: 'Warn Sound=#l Opening: waiter enters X to C of C Warn Light #1 platform. Cashier enters stands in entrance. Stage lights on WOrk lights out House lights out Steel Foundgy out with curtain Beam spots up with curtain. Opening: 0n opening action: Sound #1 - Ravel's' La Valse - on (at 13) Light #1 - Acting area lights dim.up slowly to 6 (half) 0 1. Cashier X to mirror. 2. Waiter X to above table L. 3. Cashier turns to Whiter. 4. Cashier sits on couch R. 5. Cashier takes out cigarette and lights it. 6. waiter X to Cashier with menu and ash tray. Hands menu to Cashier. 7. Cashier looking at menu. 8. Cashier gives menu back to Whiter 9. Cashier rises. 90 SCENE VI Scene: Private supper room.in a cabaret. Subdued dance music. Waiter: Cashier: (Enters. Evening clothes) Waiter: Will this room suit you, sir? Cashier: 'i It'll do. Cashier: (Looks in mirror) Waiter: Q) How many places shall I lay, sir? Cashier: Twenty-four. I'm expecting my grandma, my mother, 11y wife, and several aunts. The supper is to celebrate my daughter's confirmtion. Waiter: (Stares) Cashier: 3 Ass! Two! What are these private rooms for? Waiter: What brand would you prefer? Cashier: Leave that to me, Ci) my oily friend. C5) I shall know which flower to pluck in the ball-room...round or slender, a bud or a full-blown rose. I shall not require your invaluable services. No doubt they are invaluable...or have you a fixed tariff for that too? ' Waiter: 6) What brand of champagne, if you please? Cashier: 7 Aheun! Grand Marnier. Waiter: That's the liquor, sir. Cashier: @ Then I leave it to you. Waiter: Two bottles of Pommeryuextra drynand for supper? Cashier: @ Pinnacles! Waiter: Oeufs poches Bergere? Poulet grille? Steak de veau truffe? Parfait de foi gras a1 croute? Salado coeur de laitue? Scene VI Cues Business Cashier: A pinnacle is the point of 10. Cashier X to table. perfection...: ll. Waiter X to R. of Table. Warn Sound #2 Warn Light #2 12. Cashier runs after the Masks and off U.L. Cashier enters after chasing Mask 2 and 3, when he gets to first step of 13. Waiter X to entrance flips sign R. platform. around so "Reserved" shows. Sound #2 Record of Cashier l4. Cashier enters X to table. from "A Man's mind" to "The people need princes." (at 6)15. Cashier puts cigarette out. Sound #1 - out. 16. First Mask runs in ahead of Cashier ' X to table. Cashier X to C stage. Cashier: recording "The people need princes." 17. Cashier X to table. Sound #2 - out. 18. First Mask dances around Cashier Sound #1 - on. and up onto C platform, then back down to L of Cashier. Entrance Mask 1: 19. Cashier takes her in his arms and Light #2 - cyc. - red. bends her way back. Cashier: I'm an outlaw: give me a hiding place: open your wings. Warn Light #3 91 Cashier: 10 Pinnacles, pinnacles from soup to dessert. Waiter: Pardon? Cashier: A Pinnacle is the point of perfection...the summit of a work of art. So it must be with your pet's and pans. The last word in delicacy. The menu of menus. Fit to garnish great events. It's your affair, my friend. I'm not the cook. Waiter: (a? It will be served in twenty minutes. (Masks 2 and 3 peep rough doom) Cashier: £2) Wait, my moths! Presently I shall have you in the lamp- ight! (thks vanish) Qty (Waiter exits) CfiShierf (Sings) "Tor...ea...dor, Tor...ea...dor..." Queer, how this stuff comes to your lips. A nan's mind must be cram full of it...cram full. Eyerything. Toreador--Carmm--Camso. I read all this somewhere...it stuck in my head. There it lies, piled up like a snowdrift. At this very moment I could ' give a history of the Bagdad railway. And how the Crown Prince of Roumania married the Szar's second daughter, Tatjana. Well, well, let them marry. The people need princes. ® (Sings) "Tat...tat...ja...na, Tat...ja...na..." (E11138) Waiter: (Enters D.L. with 2 bottles, 2 glasses. Pours wine. Exits) Cashier: (Enters with lst Mask) {5) Fly, moth! Fly, moth! First Nhsk: Fizz! (Runs around table and drinks wing) Fizz! Cashier: ® (Pouring more wine) Liquid powder. Load your painted bOdye First Mask: (Drinking) @ Fizz! Cashier: Battery mounted, action front. First Mask: Fizz! Cashier: (Puts bottles aside) Loaded. (Coming to her) Ready to fire. First Mask: (Leans drunkenly towards him) (19) Cashier: Look brighter, moth. First lhsk: (Doesn't answer) Cashier: You're dizzy, my bright butterfly. You've been licking the prickly yellow honey. Open your wings, mfold me, cover me up. I'm an outlaw: give me a hiding-place: open your wings. Cues Scene VI Bus ines s Entrance Mash 2 and 3: Cashier: Light #3 - cyc. to pink and blue. ' Black as your masks.' Black a s yourselves: .w’am Light #4, #50 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. Mask 1 breaks away from Cashier, whirls by table below it, trys to take bottle. Cashier stops her from taking bottle. Mask 1 whirls C stage. Cashier X to Mask 1. Mask 1 lies on couch. Cashier X to couch and sits. Cashier X to table. Gets glass of wine X back to couch. Mask 1 jumps up and slaps his face. Cashier X to R of table L. Mask 1 exits U.L. Cashier pours wine. Mask 2 and 3 run in in front of Cashier. lbsk 2 grabs reserved sign runs D.R. Mask 3 runs to table sits L side of it. Mask 2 sits R. side of table. Cashier X to above table between the 2 thks. 92 First Mask: (With hiccough) €55) Fizz! Cashier: @D No, m7 bird of paradise. You have your full load. a” First thk: @ Fizz! Cashier: @@ Not another drop, or you'll be tipsy. Then what would you be worth? First libsk: @) Fizz! Cashier: (23 How much are you worth? What have you to offer? (Bends over her) First thk: Fizz! Cashier: I gave you that, but what can you give me? First l‘hsk: (Falls aslefl) Cashier: £6) Ha! You'd sleep here, would you? Little imp! But I've no time for the joke: I find it too tedious. (Throws wine in her face) Good morning to you! The cocks are crowing! First Mask: @ Swine! Cashier: A quaint name. Unfortunately I'm traveling incognito, and can't respond to the introduction. And so, my mask of the well-known snoutish family...get out! First Mask: (23/ I'll make you pay for this! Cashier: @ I've paid already. It was cheap at the price. (Drinks, exits U.L. singigig) Waiter: (Enters D.L. with caviare: collects engty glasses. Exits) Cashier: (Enters U.L. with two black Masks) @ Second Mask: @ Reserved! Third Mask: @ Caviare! Second Mask: (Running to her) Caviare? @4 Cashier: Black as your msks. Black as yourselves. @5) Eat it up: gobble it, cram it down your throats. Speak caviare. Sing wine. I've no use for your brains. (Pours wine and fills theirgplates) Not one word shall you RESET-NW1... n3 an exclhnmtion. You shall be dumb as the fish that strewed this black spawn upon the Black Sea. You can giggle, you can Scene VI Cues Business Cashier: Come, I'll offer a beauty prize! Light #4 - Apron stage specials - on. Entrance of mask 4. Light #5 - eye. to pink. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. P Mask 3 bends way back. away from him. Mask 2 bends way back away from him. mask 2 breaks away to C stage. Cashier X to Mask 2 and grabs her. Mask 2 runs down onto apron, R. Cashier X to mask 3. Cashier leans close to Mask 3 and tries to remove her mask. Mask 3 breaks and runs down to apron, L. Both masks lie on floor in dance positions. Cashier leaps to C of C platform. Both masks run up to him.and reach for the money. Cashier turns upstage and then turns downstage grabs two masks and walks down stage hanging on to them. Both Masks exit U.L. Cashier X to R. of table. Cashier X to above table. Pours two glasses of wine. Mask 4 X to couch. , Lo 0" . l 93 bleat, but don't talk to me. You've nothing to say. You've nothing to shed but your finery... Be careful! I've settled one already! Masks: (Look at one another and giggle) Cashier: (Takingthird Nhsk bLthe arm) What color are your eyes? Green...yellow? (3‘6: (Turns to 2nd Mask) And y rs? Blue... red? A play of glances through the eyeholes. {ftéhat 7) promises well. Come, I'll offer a beauty prize! thks: (Laugh) Cashier: (To second Bhsk) (.5? You're the pretty one. You struggle hard, but wait! In a moment I'll tear down your curtain and look at the show. Second Mask: (Breaks away) QC Cashier: (To third mask) Q]: You have something to hide. Modesty's your fire. You opped in here by chance. You were looking for adventure. 61; Well, here's your adventurer. Off with your mask. Third lbsk: (Slips away from him.) @‘1 Cashier: (44) This is the goal! I stand here trembling. You've stirred my blood. Now let me pay! @25 (Divides bundle of notes) Pretty mask, this for your beauty. Pretty mask, this for your beauty (Covers gages). 0ne--two--three! (Masks lift their dominoesr Cashier: (Looks at them. Laughs hoarsely) é; Cover them-ucover than up! Monsters-~horrors! Out with you this minute-~this very second,--or I'll... Second Mask: But you told us-- i @ Cashier: I wanted to get at you! Third Mask: You wanted us-- /"f‘~. Cashier: Q9 (Drinks) Sluts! (Exits, humming) Cashier: (Enters with Fourth Meek) 49‘“ Dance! Fourth Mask: (Stands still. Looks in mirror) Scene'VI Cues Business Cashier: That made me look at you. All the others went whirling by and you were motionless.... warn Sound=#3 Warn Light #6, #7. 50. 51. 52. 53. 54. 55. 56. 57. 58. Cashier X to Mask 4 with wine. mask 4 sits. Cashier X'to table. Cashier drinks wine. Salvation Lass stands in entrance U.R. Cashier jumps onto C of C. platform. Cashier'x to Salvation Lass, makes threatening gesture toward her. Cashier X,to Mask sits on couch. Cashier takes her in his arms. Cashier rises, turns, leaps onto L of apron. 94 Cashier: Dance! Spin your bag of bones. Dance, dance! Brains are nothing. Beauty doesn't count. Q39) Dancing's the thing- twisting, whirling! Dance, Dance, Dance! No interruption, no delay. Dance! Why don't you leap in the air? (5}) Have you never heard of Dervishes? Dancing-men. Men while they dance, corpses when they cease. L52) Death and dancing-- sign posts on the road of life. And between them-«(Salvation Lass enters) @) ——_——- Cashier: Oh, Halleluja! S. L.: The War Cry! Cashier: I know. Ten pfennigs. (S. L. holds out her box) When do you expect me to jump into your box? S. L.: The War Cry! Cashier: I suppose you do expect it? S. L.: Ten pfennigs. Cashier: When will it be? So Lei Tan meigse Cashier: (Q So you mean to hang on to my coat-tails, do you? (3. L. shakes her box) Cashier: @ I'll shake you off! (SJ... shakes box) (To Mask) Dance! 3. Le. Oh! (EXit U.L.) Cashier: (To Mask) us Why were you sitting in a corner of the ballroom, instead of ancing in the middle of the floor? That made me look at you. All the others want whirling by, and you were motionless. Why do you wear a long cloak, whm they are dressed like slender boys? Fourth Mask: I don't dance. Cashier: @ You don't dance like the others? Fourth Mask: I can't dance. Cashier: Not to music, perhaps; not keeping time. You're right: that's too slow. But you can do other dances. You hide something under your cloak-«your own particular spring, not to be cramped . by step and measure. 5g You have a quicker movementm-a nimbler leap. Here's your stage. Jump on to it. A boundless riot in Scene VI Cues Business Cashier: A‘wooden leg! Sound #3 - Steel Foundry - 011(5). Light #6 - Blackout - Color wheel - on. Sound #1 - out. Cashier puts money on the table and starts out U.L. Light #7 - Color wheel off. Curtain Steel Foundry - 7 House on. works on. Stage off. 59. 60. 61. 62. 63. 64. Cashier X back to couch and sits. Cashier rises. Cashier grabs her'wine glass. Cashier'throws wine at her. lknres C. stage. mask 4 rises. Cashier'X to above table. 95 this narrow circle. Jump now. One bound from the carpet. One effortless leap-~on the springs that are rooted in your joints. Jump. Put spurs to your heels. Arch your knees. Let your dress float free over the dancing limbs! Fourth Mask: I can't dance. Cashier: (:53?) You arouse nw curiosity. Do you know what price I can pay? (Shows roll of money) All that! Fourth Mask: (Takes his hand and passes it down her 13g) You see-- I can't. b [fr-5‘ Cashier: A wooden leg. ((863311) I'll water it for you! {(32) We'll make the buds sprout!" Fourth Mask: @ I'll teach you a lesson. Cashier: I'm out to learn! Fourth Mask: Just wait! (Exits) @343 Cashier: (Puts mongg on table. Exits U.L.) Curtain Scene VII Cues Business Before Curtain: Start "Onward Christian Soldiers" Steel Foundry_- out. Opening: Stage lights on at low reading. work lights out. House lights out. Beam spots up with curtain. Opening: Salvation Army singing and playing "Onward Christian Soldiers". Officer sits R. and of bench L. - Tambor- ine player and drummer U.C. of C. plat- form. Soldier 3 next to Officer on bench. Soldier 4 standing on middle of step unit L. Soldier 2 sits C of bench R. with back to audience. Soldier 1 sits R. corner of C. platform. Disturber on R stage trying to mke love to Soldier 2. In alcove at back of house: Penitent 1, 2 and 7 extras. Salvation Lass half- way to stage in stage R aisle. Penitent 3 in house, front row, L aisle, 2nd seat. 1. S. L. X to stage, leads Disturber to aisle seat, front row, R. 2. S. L. X up R. aisle toward alcove. 3. Officer rises X to C of apron. Others stop music. 4. Officer X to front of apron. 5. Officer X to L of apron. 96 SCENE VII Scene: Salvation Army hall. 3rd Penitent: Ci Move up closer. Be careful, Bill! Ha, Ha! Move there! Workman: (2: What are you after? (From alcove) Soldier: Merriment. (From alcove) Officer: (Woman ofjg) @ I've a question to ask you all. Group, 1: Hush! (Whistle for silence from alcove) Group 2: Speech. None of your jaw!...ifiisic! ... Group 1: Begin! (From alcove) Group 2: Stop! (From alcove) Officer: Tell me...why are you sitting crowded there? 3rd Penitent: Why not? Officer: You're packed like herrings in a barrel. @5 You're fighting for places...shoving one another off the forms. Yet.one bench stands empty. Voice: Nothing doing! (From alcove). Officer: Why do you sit squeezing and crowding there? Can't you see it's a nasty habit? Who knows his next door neighbor? You rub shoulders with him, you press your knees against his , and for all you know he may be rotting. You look into his face--and perhaps his mind is full of murderous thoughts. I know there are sick men and criminals in this hall. So I give you warning! Mind your next-door neighbor! Beware of him! Those benches groan under sick men and criminals! Woman's Voice: Next to me? (From alcove) 3rd Penitent: Or me? Officer: I give you this word of advice; @ steer clear of your neighbor! In this asphalt city, disease and crime are everywhere. Which of you is without a scab? Your skin may be smooth and white, but your looks give you away. You have no eyes to see, but your Cues Scene VII Business lst Soldier: You must come yours selves and hear the voice speak within you e 'Warn Light #1 6. 7. 8. 10. 11. 12. Officer X C. stage starts band play- ing and singing of "For I was a sinner". During music S.L. leads Cashier down aisle L to chair lst row aisle seat. She sits behind hum When Cashier and S. L. reach beginnnm of L aisle, the people on stage react to his entrance. Officer X‘to U.R. corner of bench L. Soldier 1 rises X to C Of U.Re platfome Tamome player X to Officer. Soldier 3 Xito edge of stage L. Soldier 2 turns - front. All focus on Cashier. Officer.X to L of apron. Soldier 2 turns to Soldier 1. Soldier 3 turns and looks at l, Tamborine player sits R end of bench L. Soldier 4 X to back of bench L. Soldier 4 kneels. Soldiers freeze in position. Soldiers come out of freeze, play and sing "Peal out the watchword". Dur- ing music: Soldier 1 X behind bendi R. Tamborine player rises X to L.C. Soldier 4 sits on bench L. OfficerX to Soldier 1 sits on L of R. bench. Soldier 3 rises X to L of bench L. .All focus on audience. Officer X to R of apron. Officer X to C of apron. 97 eyes are'wide open to betray you. You haven't escaped the great plague; the germs are too powerful. You've been sitting too long near bad neighbors. Come up here, come away from those benches, if you would not be as your neighbors are in this city of asphalt. This is the last warning. Repent. Repent. Come up here, come to the penitent form. 6 Come to the penitent form, come to the penitent form. (Music) S. L.: (Leads in Cashier. Noisey reaction because of evening clothes. He looks around him.amused. Music stops. Ironical applause) Officer: 'i) One of our comrades will tell you how he found his way to 'he penitent bench. Voice: So that's the mug! (Laughter) (From.alcove) First Soldier: I want to tell you of my sin. I led a life without giving a thought to my soul. (8} I cared only for my body. I built up my body like a strong wall: the soul was quite hidden behind it. I sought for glory with my body, and made broader the shadow in which my soul withered away. My sin was sport. I practised it without a moment's pause: vain of the quickness of my feet on.the pedals; and the ring of applause among the spectators. I sent out many a challenge; I won many a prize. My name was printed on every bill board; my picture was in all the papers. I was in the running for the world championship....At last my soul spoke to me. Its patience was ended. I met with an accident. The injury was not fatal. my soul wanted to leave me time for repentence. 'MY soul left me strength enough to rise from those benches where you sit, and to climb up here to the penitent form. There my soul could speak to me in peace. What it told me I can't tell you now. It's all too wonderful, and.my words are too weak to describe it. You must come yourselves and hear the voice speak within you. (Penitent 3 laughs obscenely. Noise from.alcove) Group 1: Hush! S. L.: (9; (To cashier) Do you hear him? Cashier: Let me alone. (i§}(Music starts then Ill} stopg) Officer: You've heard our comrade's testimony. Can you in anything nobler than.your own? And it's quite easy for the soul is therg within you. You've only to give it peace...once, just once. 12 The soul wants to sit wdth you for one quiet hour. Its favori e seat is on this bench. There must be one among you who sinned like our comrade here. Our comrade will help him. The way has : a a C U ‘ a u ' I e e - ' A u U c ' e ‘ a e . i s V l A I I O a - Scene VII Cues Business First Penitent: In this city of asphalt there's a hall e Light #1 - eye. to red and pink. warn Light=#2 2nd Soldier: Whose sin is my sin? Light #2 - eye. to 4 blue and full red, full pink. 'Warn Light-#3 13. 14. 15. 16. 17. 18. 19. 20. 1st Penitent X from Alcove by L. aisle to Apron. Officer X to him to welcome him. During his X 3rd Penitent laughs. Disturber rises starts after Peni- tent 3 as Penitent 3 starts up L aisle. Disturber sits down again. Officer X to proscenium L. All sing and play "washed in the Blood" Soldier 1 X to Penitent 1, takes him to R. of bench L, seats him and stands behind him. Officer X to stage C. Tamborine player X above Officer. Soldier 2 X to R of Apron. All focus on Penitent 1. Salvation Army freezes in position. Salvation Army comes out of freeze. Soldier 2.X to bench R. sits faces straight front. Tamborine player X to R of R. platform. Officer X to U.C. of R. platform. Soldier 4 X to L. of drummer. Soldier 3 sits bench L. All focus on Soldier 2. 98 been opened up. So come. Come to the penitent bench. Come to the penitent bench. Come to the penitent bench. (Silence) First Penitent: (Young man of powerful build, with one arm Q in a sling, rises in auciorner of the hall and makes his wgy through the crowd, smiling nervously. He mounts the platform). (3rd Penitent laughs obscenely). Disturber: @ Where is that dirty lout! (3rd Penitent ggts up and starts to leave) Group I: (From alcove) That's the fellow! (S. L. leads him back to place.) (15,; Voice: (From alcove) Oh, let me go, Angelina! (Facetiously) Group 2: Bravo! 68 First Penit ent: In this city of asphalt there's a hall. Inside the hall is a cycle-track. This was my sin I was a rider in the relay races this week. On the second night I met with a collision. I was thrown; my arm was broken. The races are hurrying on, but I am at rest. All my life I have been riding without a thought. Now! I want to think of everything. (Loudly) I want to think of my sins at the penitent bench. (17) (Music plays thal stops) Officer: A soul has been won! 18) S. L.: (To Cashier) Do you see him? Cashier: My affair. My affair. S. L.: What are you muttering? Cashier: The relay races. Se Le! Are you ready? Cashier: Hold your tongue. 69: Officer: Another comrade will testify. @O (Man hisses from alcove) Group 2: Be quiet there! Second Soldier (Girl): Whose sin is my sin? I'll tell you of my sin without shame. I had a wretched home, if you could call it a home. The man, a drunkard, was not my father. The woman--who was my mother-- went with smart gentlemen. She gave me all the Scene VII Cues Business 21. Officer I: behind'bench R. 22. Penitent 2 starts walking down R. 2nd Penitent: What do you think of aisle from alcove. me ladies and gentle- men? 23. Penitent 2 mounts apron. Soldier 2 helps her up and Penitent 2 X Light #3 - eye. to C of apron. Soldier site again. full red and blue and pink. 24. Soldier 2 X to Penitent 2, leads her U.R. Officer: 99 money I wanted; her bully gave me all the blows-- I didn't want. (Laughter-~Group 2) No one thought of me; least of all did I think of myself. So I became a lost womn. I was blind in those days. I couldn't see that the miserable life at home was only meant to make me think of my soul and dedicate myself to its salvation. One night I learned the truth. I had a gentleman with me, and he asked me to darken the room. I turned out the gas, though I wasn't used to such ways.) Presently I understood why he had asked me: for I realized that I had with me only the trimk of a man whose legs had been cut off. He didn't want me to know that he had wooden legs, and that he had taken them off in the dark. Then horror took hold of me, and wouldn't let me go. I began to hate my body; it was only my soul that I could love. And now this soul of mine is my delight. It's so perfect, so beautiful; it's the bonniest thing I know. I know too much of it to tell you here. If you ask your souls, they'll tell you all-- all! (Steps down) You've heard our sister testify. (29 Her soul offered itself to her, and she did not refuse. Now she tells you her story with joyful lips. Isn't a soul offering itself now, at this moment, to one of you? Let it come closer, Let it speak; here on this bench it will be undisturbed. Come to the penitent bench. Come to the penitent bench. (Movement in the hall. Some turn around) Second Penitent: (Elderly prostitute) @ What do you think of me, Ladies and gentlemen? I was just tired to death of street walking, and dropped in by chance for a rest. I'm not shy-~oh, dear no! I don't know this hall; it's my first time here. Just dropped in by chance, as you might say. But you make a great mistake, ladies and gentlemen, if you think I should wait to be asked a second time! Not this child, thank you-oh, dear no! {23) Take a good look at me, from tip to toe; it's your last chance; enjoy the treat while you can! It's quite all right; never mind me; I'm not a bit shy; look me up and down. (Whistle from alcove) Thank you, ny soul's not for disposal. I've never sold that. You could offer me as much as you pleased, but my soul was always my ovm. I'm obliged to you for your compliments, ladies and gentleman. @5) You won't run up against me in the streets again. I've got no time to spare for you. My soul leaves me no peace. Scene VII Cues Business 25. Officer X to D.R. corner of apron. All sing and play "Washed in the Blood". Tamborine player X to C edge of C platform. Soldier 1 X above Officer. All focus on Peni- tent 2. Soldier 4 X R. corner C platfome 26. Everyone on stage freezes. 27. Everyone on stage comes out of freeze. 28. Penitent 2 and Soldier 2 step down off platform. Soldier 4 X to R end of bench L. Soldier 1 X to bench R. sits L end of it. All focus on Soldier 3. Officer X be- hind Soldier 3. Third Soldier: The soul knocks quietly at your door. It knows 29. Everyone sings and plays "Wonder- the right hour and uses ful Word, Beautiful Words." it. Warn Light #4 . 100 Officer: A soul has beenwwon! @jQ‘nsic, Jubilation of soldiers, msic stops) 26) S. L.: (To Cashier) Do you hear all? Cashier: That's my affair. My affair. S. L.: What are you muttering about? Cashier: The moden leg. The wooden leg. S. L.: Are you reachr? Cashier: Not yet. Not yet. 3:?) 3rd Penitent: (Standing up) Tell me my sin. I want to hear my sin! ..... Officer: Our comrade here will tell you. [28 Voices: (Excited-~from alcove) Sit down! Keep quiet; give him a chance. Third Soldier (Elderly man): Let me tell you my story. It's an everyday BtOI'Ye Voice: (From alcove) Then why tell it? Third Soldier: That's how it came to be my sin. I had a snug home, a contented family, a comfortable job. Everything was just-- everyday. In the evening, when I sat smoking my pipe at the table, under the lamp, with my wife and children round about me, I felt satisfied enough. I never felt the need of a change. Yet the change came, I forget what started it; perhaps I never knew. The soul knocks quietly at your door. It knows the right hour and uses it. 4th Soldier, lst Penitent, Second Penitent: Hallaluja! Third Soldier: However that might be, I couldn't pass the warning by. I stood out at first in a sluggish sort of way, but the soul was stronger. More and more I felt its power. All my born days I'd bem set upon comfort now I knew that nothing could satisfy me fully but the soul. Soldiers: (From stage) Halleluja. Third Soldier: I don't look for comfort any longer at the table under the lamp, with a pipe in my mouth; I find it here alone at the penitent bench. That's my everyday story. 69> (Music playg. Third Penitent interrupts music) - Cues Scene‘VII Business 3rd Penitent: I have two daughters. I have a wife. Light #4 - eye. to red. 30. 31. 32. 33. 34. 35. 36. 37. Penitent 3 jumps up on apron, X L.C. of apron. Soldier 3 X to Penitent 3, takes hhn to bench L., seats him.R. end, stands behind him. Officer X stage C. Tamborine player X to R of drummer. Soldier 4 X to C stage. 0fficer.X to L of 4. Soldier 2 stands between bench and platform. Penitent 2 sits on bench L. All focus on 4. They sing and play "For I was a sinner.” All on stage freeze. All on stage come out of freeze. Officer puts hand on Soldier 4's shoulder. Soldier 1 and Penitent l kneel. 101 A Third Penitent: (39; My sin! My sin! I'm the father of a family. Voice: (From alcove) Congratulations! Third Penitent: I have two daughters. I have a wife. My Mother is still with us. We live in four rooms. It's quite snug and cozy in our house. One of my daughters plays the piano, the other does embroideries. My wife cooks. My old mother waters the geraniums in the window boxes. It's cozy in our house. Coziness itself. It's fine in our house. It's grand...first rate...It's a model-a pattern of a home. (With a change of voice.) Our house is loathsome. e .horrible. e ehOITiblOe e .hon‘ible. e .mean. 0 e paltry through and through. It stinks of paltriness in every room; with the piano-playing, the coo ng, the embroidery, the watering pots (Breaks out) 3 x I have a soul! I have a soul! I have a soul! Soldiers: Halleluja. Officer: £2 A soul has been won! L33 (Music. Loud uproar in hall) (3; S. L.: (To Cashier) Do you see him? Cashier: My daughters, My wife. My mother. Salvation lass! What do you keep mumbling? Cashier: My affair. My affair. S. L.: Are you ready? Cashier: Not yet. Not yet. L33 Disturber: (Stands) What's my sin? What's my sin? I want to know my sin? Tell me my sin. or» Officer: (39 Our comrade will tell you. Fourth Soldier: W soul had a hard struggle to win the victory. It had to take me by the throat and shake me like a rat. It was rougher still with me. It sent me to jail. I'd stolen the money that was entrusted to me; I'd absconded with a big sum. They caught me; I was tried and sentenced. In my prisorg cell I found the rest my soul had been look- ing for. @7/ At the last it could speak to me in peace. At last I 'oould hear its voice. Those days in the lonely cell became the happiest in my life. When my time was finished I could not part from my soul. Scene VII Cues Business Cashier: I've been on the road since this morning. I was driven out on this search: 'Warn Sound #1 warn.Light fig, #6,:¥7,=#8, 38. 39. 40. 41. 42. 43. Officer X to R of apron. Penitent l X to L of drummer. Disturber runs up on stage to C of U. R. platform. All on stage freeze. Cashier rises. S. L. X to C of apron, Cashier followm her. 8. L. sits on apron R. 102 Soldiers: Halleluja. Fourth Soldier: I looked for a quiet place where we two could meet. I found it here on the penitent form; I find it here still, each evening that I feel the need of a happy hour! Officer: (33) Our comrade has told you of his happy hours at the penitent form. Who is there among you who wants to escape from fluis sin? Here he will find peace! Come to the penitent bench! Disturber: (Standing up, shouting, gesticulatipg) Nobody's sin! That's nobody's sin! I want #0.». hear mine! My sin! My sin! (M jpin in from alcove) @ W sin! My sin! My sin! 3“. Cashier: (‘9 My sin! @ S. L.: What are you shouting? Cashier: The bank. The money. S. L.: Are you ready? Cashier: Yes, now I'm ready! S. L.: Li?) I'll lead you up there. I'll stand by youualways at your side (Turningto crowd,. estatically) A soul 3 going to speak... I looked for Wis soul. I found this soul! 4 Cashier: (On platform) I've been on the road since this morning. I was driven out on this search. There was no chance of turning back. The earth gave way behind me, all bridges were broken. I had to march forward on a road that led me here. I won't weary you with the halting-places that wearied me. None of them were worth my break with the old life; none of them repaid me. I marched on with a searching eye, a sure touch, a clear head. I passed than all by, stage after stage; they dwindled and vanished in the distance. It wasn't this, it wasn't that, or the next-- or the fourth or the fifth! What is the goal, what is the prize, that's worth the whole stake? This hall, humming with crowded benches, rinsing with melody! This hall! Here, from beach to bench, the spirit thunders fulfilment! Here glow the twin cru- cibles; confession and repentance! Molten and free from dross, the soul stands like a glittering tower, strong and. bright. You cry fulfillment for these benches. (Pause) I'll tell you ny Stow. S. L.: Speak, I'm with you. I'll stand by you. Scene VII Cues Business Cashier: I've been all day on the 44. Cashier X up R. aisle onto platfonn road. by auditorium door. Salvation Lass follows. Soundgfil - Stranvinsky's Symphony (Side 1) - on- 45. Everyone on stage breaks freeze. 16. They fight. Run up both aisles and out through alcove. Light #5 - cyc. to red. 46. Cashier X down R. aisle, up onto Cashier: This hall is a burning over; stage to U.L., to U.C., to D.C. to C. apron. Sound #1 - 20 Light #6 - House platform 47. Cashier X to L side apron. light - on. Cashier: So the cup is filled: Sound #1 - full. Light #7 - Stage lights - Blackout. Cashier: Elbow room, room...room... room. 0 0 Light #8 - Cyc. fluctuates 3 colors, Color wheel on. warn light #10,=#ll, #12. Cashier: Where is the door? Sound #1 - out. Light=#9 - Skeleton - on 2 platform specials - on Cyc. out. Policeman: Switch off that light. Warn cu rtain warn Sound #2 Light #10 - Blackout, only Skeleton on. 103 Cashier: I've been all day on the road. I confess; I'm a bank cashier. I embezzled the money that was entrusted me. A good round sum; sixty thousand marks! I fled with it into your city of asphalt. By this time, they're on my track; perhaps they've offered a big reward, I'm.not in hiding any more. I confess! You can buy nothing worth having, even with all the money of all the banks in the world. You get less than you pay, every time. The more you spend, the less the goods are worth. The money corrupts them; the money veils the truth. Mbney's the meanest the paltry swindles in this world! (Takes roll out of_pocket) (fig) This hall is a burning over; it glows with—your contempt for a 1 mean things. I throw the money to you; it shall be torn and stamped under foot. So much less deceit in the world! So much trash consumed. I'll go through your benches and give myself up to the first policeman; after confession, comes atonement. So the cup is filled! Q13} (Throws money into hall. Every_b_ody goes after it. Finally they all exit) S. L.: (Stands by him on platform) Cashier: (Smiles at her) You are standing by me. You are with me still! @67 On we go. The crowd is left behind. The yelping pack out- run. Vast emptiness. Elbow room! Room! Room! Room! A mid remains...upright, steadfast! Maiden and man. The old garden is reopened. The sky is clear. A voice cries from the silent tree tops. It is well. Maiden and man...eternal constancy. Maiden and man...fulness in the void. Maiden and man...the be- ginning and the end. hhiden and man...the seed and the flower. Maiden and man...sense and aim and goal! (8. L. slipg out door) Cashier: S. L.: (Throws door open. To Policeman) There he is! I've shown him to you! I've earned the reward. Cashier: Here above you, I stand. Two are too many. Space holds but one. Space is loneliness. Loneliness is space. Coldness is sunshine. Sunshine is coldness. Fever heat burns you. Fields ' are deserted. Ice overgrows them. Who can escape? 4?, Where is the door? Policeman: Is this the only entrance? Se Le: (NOdB) Cashier: £56618 in his pocket) Policeman: He's got a hand in his pocket. Switch off that light. We're a target for him! (S. L. turns off lights) Scene VII Cues Business Policeman: 48. Cashier X to L of C. platform. 49. Cashier X onto platfonm C. 50. Cashier X U.R. on R platform turns full back. 51. Cashier falls on his back with head hanging over C of C. platfonn. Switch on the light. Light #11 - Skeleton - out. 2 platform specials on. Count 3 Sound #2 - Thunder - on. Light #12 - Skeleton on. Count 5 Curtain House on works on Stage off Cashier: Policeman: 104 (Feeling in his pocket-~gets gun out) (EB) Ah!--discovered. Scorned this morning-~welcomed now. I salute you. The road is behind me. Panting I climb the steep curves that lead upward. my forces are spent. (43} I've spared myself nothing. I've made the path hard, where it might have been easy. This morn- ing in the snOW'when'we met, you and I, you should have been more pressing in your invitation. One spark of enlightenment would have helped me and spared me all trouble. It doesn't take much of a brain to see that--Why did I hesitate? Why take the road? Whither am.I bound? From first to last you sit there naked bone. From morn to midnight, I rage in a circle... 50‘ and now your beckoning fingerrpoints the way...whither? _hoots answer into his breasi) L9 Switch on the light. (S. L. does so) (Cashier has fallen back; with arms outstretched, tumbling headlong down the SteES 07 Curtain 105 APPENDIX Production Notes 106 SCENE PLOT Ground Plans and Photographs 107 Ground Plans 4......‘....f 117K],r:. n... ..Al .. \‘M‘I‘k‘ .404 ”w Imkt \ _ .F. ‘ H [kit's-713.4,. . i . 1.5.3... .351; .41}! x q . 12.93:..{9} . z _ T: 0.2. . . . J 11/ ax .\ ifslwin: ft 4 Manx-I" wI-ov I v I . ~ a ‘ I n 3 .rllih . g _ ~ __ h A w K _ w ~ . . ._ w a . 1.. U x . 4. .. v. K - .r 4‘73452 .. k r “ 1 § . x . f: x . . a Ix» -- i I ‘ _ . . 1.111. , {a . y . o y . m o . . t . t . « .. n l” . ~ ~ I\ m w . ~. . n K _ I- Q ..Ja : . u I A: ..IL \ Mvml‘L). :«A. I ‘ v x I r ‘9 . . t . T . . F5. a x .J v 1 W lv ’ I .4 . \ . , I l‘:v-) .. . . . «1 . . ‘ r . 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Scene VII - Unit set of platforms and drapes used. Benches and dnwm in the shop. Shifts . Scene I to Scene II Strike: 1. Chair in Cashier's cage to shop. 2. Ash tray and chair U.L. to shop. Re—arrange: 3. Desk and chair U.R. Strike: 4. Bank arch to shop. 5. Cashier's cage to shop. 6. manager's entrance to shop. Set: 7. Couch and end table. 8. L wall. 9. R.wa11. Strike: 1. 2. 3. 4. 5. 1. ‘2. 119 Scene II to Scene III Open back black traveler. L wall to shop. Couch and end table to shop. R wall to shop. Desk and chair to shop. During Scene III Snap Scene Six cover on couch. Hbve the following to the backstage area: 1. Table and chair. 2. Clock 3. Hat rack 4. Rocking chair 5. Piano stool 6. Piano 7. Back wall of Scene IV. Set: 1. 2. 3. Scene III to Scene IV Mdve the above onstage in that order. L1 R1 / Strike: Set: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. Intermission-Scene IV to Scene V Rocking chair to shop. Clock to shop. Hat rack to shop. L1 to shop. R1 to shop. Back wall to shop. Piano to shop. Stool. Table to shop. Chair to shop. . Small 8" step unit to shop. Entrance to Velodrome. Wheel. St rike: Set: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Scene V to Scene VI Wheel to shop. Entrance to shop. Couch Table R Chair L Chair L1 R1 LC RC 120 Strike: Set: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. Scene VI to VII RC to U.R. LC to U.R. R1 to D.R. L1 to D.R. Table to shop. R Chair to shop. L Chair to shop. Couch to shop. Bench R. BenCh Lo Drum U.C. 121 LI GHT PLAN '0 . ...V... 535....(alv. ......» T. .4? — u . a ,r. A ~ 4 h..$:1it.-ials..... All («at I . 1.4.5. . h 1 _ ‘IX‘Ii 44,.-. .. _ ,. Mm . » Egg..- .1, ..LQ\V.\17.(...I~’..YCII.\F91..4315'. .31.P.\-.A r .1 a ,.r. , {aux-.1111; .\11I‘.(..).II ..lltlI’IJ y . 1. .T 3. I n u h.» 1|. .\ .\|1 ........ . .. f iii.!>§{l‘.|§kl {It} .16..) l\!..-t.,lll¢. [-59 . x K ..sol \-\ 1... I. . .‘1 v I; .n - ~ r , . i. ..I .1‘: . .. n‘...‘ \. .1. VII 3. . ... ~ .\ 3'7 a r- u\ ._ 4k. 1 h k. ..r / .:-. ._ M .. 4 .. A .. p .n u... , . _ A . 4 1., . a 1 g /. \\ ,. w .m . .. _ .. h . w _, . < w ‘ M I A . l.)l\.-... .‘nIIIuII-I~ ”—.....” 5"“ _., ., , q ~11": u— . uwfiq: " >--~—.——-«,,.._..,m ~-.u-. ‘a 0’1. .... / I ~ .5... ,1 PAP ”AF “we-“....“ . .1 1.3.11. A. .Y. .113. ; lite; . \ T fig ....Vv .. ... S E ... .339 n ? ..JMW‘, L ”I... a .. N A n w 1 L 3.. ... AME Mfr a: Av... C 4 . a , a... i .1 Va 1 .7 h t... 3.... ., w H .(. .- .....- 5. .. u :71... ‘ w. . D UPLHAHT W” ,. - ...-M I; ... [a .-‘-1 ,5 J A A fat-2e, [/5 4.41.4 ( i .. ,— “Va—.-., 1 a... {it} LA. : J. . 51.73.. .vth it x 4 fl. . /J m r .5. . y H n . .w ._ ... 1... VI Z3 iLelq ”fr” ~)l.l.. Onstage: Off Rights 122 PROPERTY PLOT Scene I 1 Straight chair - U.L. l Desk chair - U.R. - on platform. 1 Desk - U.R. - on platform. ‘ 1 Straight chair - in Cashier's cage, U.R. corner. 1 Ash tray stand above U.L. chair. On Desk: Pile of typing paper Stack of envelopes Pencils Typewriter l Ash.tray matches Rubber stamp 1 water bottle and glass 0n Cashier's shelf: Paper'money and coins in money box. Stack of paper and envelopes Pencils Rubber bands Rubber stamp Messenger Boy: Linen money bag with money and check in it Stout Gentleman: Cigar and matches Cane Handkerchief . Brief case with 60,000 marks in it. Bank Manager: Gold cigarette case with cigarettes matches Handkerchief White carnation Pince Nez 123 Off Left: Lady: Letter in envelope in purse Porter: 4 Letters muffled Gentleman: Check. Serving Maid: Shopping bag with check in it ' Scene II On Stage: . 1 Desk U.R. on platform (same as in Scene I, only raked)' 1 Chair U.R. on platform (same as in Scene I, only raked) 1 COUCh D.L. Small end table L of couch 0n Desk: Phone upstage corner Pencil Telegraph blanks Typing Paper Time-table Ash tray (same as Scene I) On end table: Lady's purse with letter, cigarettes, matches in it. Ash tray on: Right: ’ Son: Painting with cloth covering it (medium size) Onstage: Scene III No set props Off Upper Right: Cashier: 1 Pistol 60,000 Marks 2 Removable cuffs 124 Onstage: Scene IV 1 Piano - D.L. l Rocking chair - U.L. 1 Oval table - D.R. l Comfortable chair - L of table 1 Piano stool - D.L. 1 ClOCk '- U.R. 1 Hat RaCk "' U.ReCe On Piano: Atlas - U.R. end On Table: Ash tray Table cover Magazines 0n Comfortable chair: Large antimacasser Wife: Broom \Daughter 1: Embroidery Mother: 'Watering can Scene IV (Continued) Off Upper Right: Cashier: Roll of bills and wallet Bank Manager: Cane Off Down Left: Cashier: Pipe and slippers Smoking Jacket 125 Scene V Onstage: No set props Gentleman 2: Mbnocle (yellow) Binoculars (yellow) Note book (yellow) Pencil Cigar matches Gentleman 3: Same as 2 in pink Off Upper Left: Gentleman 1: Same as 3 in chartreuse Gentleman 4: Starter's-gun Same as 1 in purple Scene V (Continued) Gentleman 5: Same as 4 in turquoise Off Upper Left: Large red megaphone Large orange and yellow starter's flag Off Upper Right:_ Cashier: Roll of money Salvation Lass: Tin box with coins in it 126 Onstage: Scene VI 1 Oval table (Same as in.4) D.L. 1 Wine chair R of table 1 Yellow'chair L of table 1 Couch (Same as in 2) R. 0n table: Wine and yellow'stripped table cloth 2 settings of silver 2 bottles of Champagne 2 wine glasses Menu - wine and yellow stripes Ash tray 0n couch: Wine and.yellow stripe slip cover 011 U.R. flat: Wine and yellow stripe "Reserved sign" with back to audience. Scene'VI (Continued) Off Upper Right: Salvation Lass: Tin box with coins in it. Cashier: Gold cigarette case with cigarettes in it matches or: Down Left: “ waiter: Napkin 2 bottles Champagne 4 Champagne glasses 2 Plates of caviar 127 Scene‘VII Onstage: 2 6' benChOS D.R. and D.L. 10 chairs in alcove at back of house 1 drum.on U.C. platform 1 tambourine - on - tambourine player Cashier off at auditorium.door: Pistol 128 CHARACTER PLOT Character Bank Manager Stout Gentleman Messenger Boy The Clerk The Porter The Lady Serving Maid Son Wife, Nether, Daughters l and 2 The Five Gentleman Salvation Lass mask 1 masks 2 and 3 mask 4 Barges: cSymbol of capitalistic stupidity and greed. Symbol of capitalistic stupidity and greed. Reinforces Cashier as one of the down- trodden. Reinforces the routine of bank. Reinforces the routine of bank. Female product of the capitalistic system. Beautiful, well dressed, and not too intelligent. Adds to atmosphere of the poor coming to the capitalist-to get their miser- able amount of money. Device to get .Lady to look away from.Cashier at climax of Scene 1. Academic gatherer of art objects. Satire on the decadent esoteric admirer of art. Proves the Lady's respect- ability. ‘ Satiric symbols of domestic dullness and boredom. Satiric symbols of the silliness of rushing about with material gains as the only goal. Symbol of‘hypocritical soul savers who can.be bought. The empty symbol of intellectual beauty. The empty symbols of pure beauty. The empty symbol of gaiety and laughter. Character Officer Soldier 1 Penitent 1 Soldier 2 Penitent 2 Soldier 3 Penitent 3 Soldier 4 Policeman 129 Purpose Middle aged, hard woman trying to incite the crowd into testifying and joining the Salvation Army. Recalls bicycle races to Cashier's mind 0 Recalls bicycle races to Cashier's mind 0 A.young prostitute who has slept with a man with wooden legs. Recalls cabaret to Cashier's mind. An old prostitute. Recalls cabaret to Cashier's mind. Recalls Cashier's home life. Recalls Cashier's home life. Recalls Cashier's theft. Salvation Lass brings him in to catch Cashier for theft and get the reward for herself. 130 cosmos PLOT Scene Character Color Description I Cashier Dark Baggy suit, white shirt, dark tie, black Green shoes, black overcoat, black hat, black gloves. I Stout Dark Business suit, black shoes, Chesterfield, Gentleman Blue Homberg, dark tie. I Clerk 'White Tailored skirt and blouse, black oxfords. and Black I Messenger Brown Baggy trousers, sweater, leather jacket, Boy Messenger's cap. I Lady Black Dressy silk dress, fur jacket, pumps, white gloves, bag, costume jewelry (including bracelet) I Bank Gray Merning clothes--tail coat, striped Manager and trousers, ting collar shirt, gray tie, Black black shoes. I muffled Brown Long tan overcoat, brown trousers, brown Gentleman felt hat, tan scarf, brown gloves, black shoes. I Serving Tan Light tan coat, blue scarf on head, brown maid gloves, brown oxfords. I Porter Navy Navy blue overcoat, trousers, cap, black Blue gloves, black shoes. ‘ II Lady Same as Same as I. 151 Scene Character Color DescriptioL II Son Brown Green corduroy sport jacket and brown and slacks, tan overcoat, brown hat, brown Green gloves. II Cashier Same as Same as I with overcoat and hat on. I III Cashier Same as Same as II II IV Daughter Yellow Yellow cotton dress. Extremely large 1 yellow hair ribbon. Black ballet type shoes. Yellow knee socks. IV Daughter Red Same as Daughter 1, only in red. 2 IV Mother Black Long black dress, gray shawl, black OXfOrdSe IV Wife Green Faded green house dress, plain white apron, brown carpet slippers. IV Cashier Same as Same as III. III IV Bank Same as Same as I with Chesterfield and Homberg, Manager I black gloves (same as used by Stout Gentleman in I). V Gentleman Black Black trousers, black tail coat, white I and shirt, chartreuse garden gloves, extremely Char- large chartreuse bow tie and top hat. treuse Chartreuse cuxmnerbund and handkerchief. V Gentleman Black Same as 1 only in yellow. 2 and Yellow 132 Scene Character Color Description V Gentleman Black Same as 1 only in pink. 5 and Pink V Gentleman Black Same as 1 only in purple. 4 and Purple V Gentleman Black Same as 1 only in turquoise. 5 and Turquoise 'V Cashier Black Tuxedo. Ballet slippers. V Salvation Navy Navy blue coat and bonnet. Underneath a Lass Blue black skirt and orange low-cut blouse. Black ballet type shoes and black gloves. VI Waiter Black Tuxedo. Black shoes. VI Cashier Same as Same as V. ”V VI mask 1 Red, Black tights and jersey. Red and yellow Yellow} strips of material over top to stylize Black student's gown. Ballet slippers. VI Mask 2 Black Black tights, black tux vest with stylized shirt front and sleeveless. VI Mask 3 Same as Same as Mask 2. mask 2 'VI mask 4 Red, Long white robe with large red and yeIIOW' Yellow, diamonds on it. White ballet shoes. White 133 Scene Character Color Description VII Officer Navy Navy blue skirt, white blouse, navy cloak Blue and bonnet, black oxfords. VII Soldier Black Black turtle neck sweater and trousers. 1 VII Penitent Black Same as Soldier 1 with green sling for arm. 1 VII Soldier Blue Blue dress-very plain. 2 VII Penitent Purple Purple velvet dress with gray satin trim, 2 tan coat, ratty fur, large floppy hat with red flowers on it, black pumps. VII Soldier Brown Baggy brown trousers and jacket, white 3 Shirts VII Penitent Brown Same as Soldier 3 with gray felt hat. 3 ‘VII Soldier Black Black trousers and sweater. 4 VII Policeman Black Black suit and policeman's cap. VII Tambourine Navy Navy blue suit. Player Blue VII Drummer Navy Navy blue suit. Blue 134 NmKE-UP PLOT Scene Cha ract er lake-up Des cripti on I-VII Cashier Middle age. Hair and mustache slightly gray. Sallow base. I Stout Middle age. Ruddy base. Little bit of gray Gentleman in hair. I Clerk Pale--Middle age. I Messenger Ruddy-~juvenile. Boy I and II Lady Beautiful-«well preserved middle age. Pale base, beauty patch. I and IV Bank Ruddy-~30 years old. Fat,pink cheeks Lhnager I Muffled 01d age--sallow. Gentleman I Serving Pinion-juvenile T‘hid I Porter Straight--weathered dark base. II Son Juvenile-~sallow. IV Mother 01d age--pale--gray hair. IV Daughter Juvenile—pink. 1 IV Daughter Same as Daughter 1 2 135 1 Scene Character Make-up Description IV Wife Middle agensallow. V Gentleman Dead white base, chartreuse beard, eyebrows. 1 Ebctreme heavy black eye make-up. Base 4A. V Gentleman Same as l with yellow. 2 V Gentlemn Same as l with pink. 3 V Gentleman Same as 1 with purple. 4 V Gentlenan Same as l with turquoise. 5 V-VII Salvation Pale 30 years. Lass VI Waiter Old age—pale. VI Mask 1 Mask of Knowledge. VI thk 2 Mask of beauty. Dark lips VI Nhsk 3 Same as Mask 2. VI Mask 4 Comedy Mask VII Officer Middle age, grotesque. Extreme lines, gray wispy hair. VII Soldier Juvenile-u-dark. 136 Scene Character Make-up Description VII Penitent Juvenile-~sallow. 1 VII Soldier Young prostitute. Juvenile-wallow. 2 VII Penitent Old age--much rouge and lipstick. Pale 2 base. Old prostitute. VII Soldier Old age sallow. 3 VII Penitent Juvenile-~sallow- 3 VII Soldier Middle age--pale with 5 o'clock shadow. 4 k-COIIViCte VII Policeman None. 137 MUSIC PLOT The Steel Foundry (from Symphony of Machines) by Mossolov. Used in Scene 1, Scene II, Scene IV, Scene V, and Scene VI. Used as a bridge between Scenes I, II, III, and V, VI, VII. The Age of Gold - Ballet: Danse Russo by Shostakovich. Used in Scene V. Orchestra Sumphonique of Paris conducted by Julius Erlich. Columbia Masterworks Set M-34'7 Russian Modern M1810 The Rite of Spring (Le Sacre du Printemps) by Stravinsky. Used in Scene III, and Scene V. San Francisco Symphony Orchestra, Pierre Monteux, Conductor. RCA Victor - DM 1052. Symphony in Three Movements: First Movement: Overture (Allegro) by Str‘Vinskye ' Used in Scene VII. Columb ia M-MM-68 -0 . Gayne - Ballet Suite No. 1: Dance of the Rose Maidens by Khachaturian. Used in Scene V. Efrem Kurtz conducting the Philharmonic-Symphony Orchestra of New York. Columbia LP - ML 4021. Tannhauser Overture by Wagner Used as bridge from Scene III to Scene IV. Mercury Classics LP - M.G. lSOOBB BIBLIOGRAPHY 138 BIBLIOGRAPHY Books Batchelder, Ernest A, Design in TheoLmd Practice. New York: The Macmillan Company, 1918. Bentley, Eric, The Playwright as Thinker. New York: Reynal and Hitchcock, 1946. Chandler, Frank W., Modern Continental Playwrights. New York: Harper and Brothers, 1931. Cheney, Sheldon, The Art of Theatre. New York: Alfred A. Knopf, 1925. , A Primer of Modern Art. New York: Liveright, Inc., 1932. , Stage Decoration. New York: John Day, 1928. , The Theatre: Three Thousand Years of Dram, Acting, and Stage-- craft. New York: Longmans, Green, 1929. Clark, Barrett H., and Freedley, George, A Hiitory of Modern Drama. New York: D. Appleton-Century Company, Inc. , 1947. Dean, Alexander, Fundamentals of Play Directing. New York: Farrar and Rinehart, Inc., 1941. Dickinson, Thomas H. An Outline of Contempprary Drama. New York: Houghton Mifflin Company, 1930. , (ed.), Chief Contmporgm Dramatists. 3rd Series. New York: Houghton Mifflin Company, 1930. Dolmen, John, Jr., The Art of Play Production. New York: Harper. and Brothers Publishers, 1928. Eloesser, Arthur, Modern German Literature. New York: Alfred A. Knopf, 1933. Freedley, George and Reeves, John A., A History of the Theatre. New York: Crown Publishers, 1941. Gassner, John, Waters of the Drama. New York: Dover Publications, 1945. , Producing the Play. New York: The Dryden Press, Publishers, T941. 139 Gassner, John, (ed.), A Treasury of the Theatre. Revised edition for Colleges. NeW'York: Simon and Schuster, 1951. Goldberg, Issac, The Drama of Transition. Cincinnati: Stewart Kidd Company, 1922. Gorelik, Mordecai, New Theatres for Old. New York: Samuel French, 1947. Hughes, Glenn, The Storzgof the Theatre. New York: Samuel French, 1928. Kaiser, Georg, From Morn'to Midnight. (Trans. Ashley Dukes) NeW'York: Brentano's Publishers, 1922. macgowan, Kenneth, and Jones, Robert Edmond, Continental Stagecraft. New York: Harcourt, Brace, and Co., 1922. macgowan, Kenneth, The Theatre of Tomorrow; New York: Boni Liveright, 1921. Miller, Anna Irene, The Independent Theatre in Europe. New York: Ray long and RiChardfiRe Smith, Inc., 19310 I Moses, Montrose J. Dramas of Modernism. Boston: Little, Brown, and Company, 1931. Nicoll, Allardyee,‘Wbr1d Drama. New York: Harcourt, Brace, and Company, 1950. Rowe, Kenneth Thorpe, Write That Play. New York: Funk and Wagnalls Company, 1939. Simonson, Lee, The Stage is Set. New York: Dover Publications, 1932. Steinhauer, H., Das Deutsche Drama 1880—1933. New York: 'W.‘W. Norton and Company, Inc.,11938. 2 Vols. Stuart, Donald Clive, The Development of Dramatic Art. New York: D. AppletonPCentury Co., 1937. Tucker, S. H., Mbdern Continental Plgys. New York: Harper and Brothers, 1929. Young, Stark, Theatre Practice. New York: Charles Scribner's Sons, 1926. ’ Periodicals Angus, William, "Expressionism.in the Theatre," Quarterly Journal of Speech. 19: 477-492, November, 1933. Lewisohn, Ludwig, "The Empty Road," The Nation. 114: 726, June 14, 1922. Seidenberg, Roderick, "From Horn to Nfidnight," The New Republic. 31: 189-190, July 12, 1922. Simonson, Lee, "Down to the Cellar," Theatre Arts. 6: 117-138, April, 1922. 141 LIST OF PLAYS BY GEORG KAISER Before 1903 -- La Fanciulla and Vanna Nanna privately printed under the title, Hyperion, gift to Friends Plays Published Produced Style 1 Schoolmaster Kliest 1903 1918 j The Jewish Widow 1911 1921 Travesty King Cuckold 1913 1919 Travesty 1; Burgher's of Calais 1914 1917 Romantic-Historical Claudius, Friedrich, and Anna 1914 1918 One act Juna 1914 1918 One act m 1915 1920 Comedy-dance play From Mom to Midnight 1916 1917 Ebcpressionistic The Centaur 1916 1917 Satire The Coral 1917 1917 Expressionistic The Sorina . 1917 The Temptation 1917 "Well-made play" Fire in the Opera House 1919 1918 Sensational ex- . ' pressionism Gas I 1918 1919 Expressionistic Hell, Way, and Earth 1919 1919 Expressionistic M 1919 1920 Expressionist‘lc Alcibiades Saved 1920 1920 Travesty Man's Sacrifice 1920 1922 Sensational.- 61’ preselonism David and Goliath 1921 1921 Comedy 142 Plays Published Produced Style Noli me tangere 1922 1922 Realistic-serious Gilles and Jeanne 1923 1923 Tragedy Side by Side 1923 1923 Comedy The Flight to Venice 1923 1923 Love comedy Spirit of the Antique 1923 1923 Burlesque Literary Trash 1924 1924 Expressionistic Gate 1925 Expressionistic Courageous Navigator 1925 Realistic-serious Twice Oliver 1926 1926 Realistic Paper Hill 1927 1927 Comedy Der Praesident 1927 1927 The Leatherheads 1928 1928 Problem play October Day 1928 1928 Two Cravats 1929 Revel Hellseherei 1930 Detective story Mississippi 1931 Problem play Silbersee 1933 Book for musical ICHIGQN STQTE UNIV. LIBRQRIES 31293010799140