.3 ‘ ' '1‘;‘. .‘ .‘B'Ita’mq v I § 3.1" L i ‘ A HIGH SCHOOL paooucnon 0F 'SHAKESPEARES TWELFTH NIGHT AND AN _ 3 ANALYSIS OF THE PROBLEMS INVOLVED ' Thom for tho Dogma of M, A MiG-"(SAN STATE come ” Minam D. Eihs 1953 .3“: -'0 '_-- "_'_'....100¢___‘o-00-.r5.- This is to certifg that the thesis entitled A High acnool Production Of Shakespeare's Twelfth Night And An Analysis of the Frofilema Involved. presented by Miriam D. Ellia--- has been accepted towards fulfillment of the requirements for Master'adaye n1 Speech,Dramatica and Radio ducation. . Ix! . I, t . .k. , . . .. ‘ . t t .A. ., t I " § ,- ‘ . r. u ' - ’— ‘_ I a zMIC t , 1‘. l _ > I '1 i. . Majur professur L' " * ? RQJT . " May 25,1953 .55 .. , i ‘ Date A HIGH SCHOOL PRODUCTION OF SMKESPEARE'S 'I'WELFTH NIGHT AND AN ANALYSIS OF THE PROBLEMS INVOLVED By l'iriam D. Ellie A THESIS Submitted to the School of Graduate Studies of Michigan State College of Agriculture and Apolied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech, Dramatice, Radio Education and Television - Vay 1953 x i ‘ \L‘ Acknowledgement is hereby made to Dr. John Waite, Hr. Wilbur Dorsett, Dr. Zack York, Dr. J.Murray Barbour, and especially to Mr. D.O.Buell for their assistance and supervision in the completion of this thesis; to Robert hull who worked untiringly as stage manager; and to all those students of Grand Ledge High School who gave their tile, effort, and enthusiasm to the production of the play. TABLE OF CONTENTS CRAP TEE PAGE I. THE PURPOSE; IN ADAPTING AND PRODUCING A SILAKEEDPEARELAN PLAY IN HIGH SCHOOL AND THE CO'leITIOE-ES UNDER WHICH IT WAS PRODUCED . . . 1 II. AN ANALYSIS OF THE PROBLEMS OF PLAY III. THE SCRIPT OF 'NELF‘TH NIGHT ADAPTED FOR HIGH SCHOOL PRODUCTION . . . 26 IV. AN AI-IALYSIS OF THE BIDDER-“S 0F SCRIPT ADAPTATION . . . 83 V. AN ANALYSIS OF THE DIRECTIE‘JG I’ROBLEIvES . . . 93 VI. AN ANALYSIS OF THE PRODUCTION PROBLEE‘YS . . . 114.7 BIBLIOGRAPHY . . . 204 APPENDIX . . . 206 LI ST 0? ILLUSTRATIONS PAGE Frontiepiece .......... Larry Vander Moore as Halvolio Ground plan of stage and adjoining room 17 Act I, scene 1. "Away before me to sweet beds or flowers." OOOOIOOOOOOOIIOOOOOOOOIIIOOIOOI.0.00.0... 27 Act I, scene 7. "My masters, are you mad, orwhat are you?” 0....OOOOOOOOOOOOOOOOOOOCOC0.0...... “6 Act II, scene 1F. “And some have greatness thmat upon them!" 0.00.00.90.00.0COOOIOOCODOOOOOOQOIO 59 Act II, scene it. 'Ay, but he will not now be pacified: Fabian can scarce hold him yonder.” .................. 6b Act II, scene 8. ”O, Viola, my dearest sister!“ 79 Ground plan of stage, Act I, scene 1 ................. 166 Floor plans .0000...OIOOOOOOOOOOOOOOIODOOOOOOOOOOOOOOI 167 pl-Iblialty plummfl .eeeeeeeeeeeeeooeeeeeeeeoee eeeeee ee 19? N".pap.rpub11°1ty OOOOOOIOOOOOOOOOOOOOOOOOOOOOOOOOOO 200 ‘yhlel m |e a! ‘ ““: {-0.4 NW‘ .A . I LI 8T OF PLOTS Shiftingplot......................... ..... 168 Lighting plot ................ ..... ..... 172 Property plot ...... ............. . .............. 173 Costum0 plot . ..... ..... ............. 175 Make-up plot ...... . .......... 182 Musical scores ..... ............ . ..... .. 187 Choreography ...... ......... ....... 195 CHAPTER I THE PURPOSE IN ADAPTIi-JG AND PRODUCING A SHAKESPEAREAN PLAY IN HIGH SCHOOL AND THE CONDITIONS UNDER WHICH IT WAS PRODUCED The purpose of this thesis project has been three- fbld: to indicate the feasibility of producing Shakespeare in a small high school, to introduce a small community to ‘um enjoyment of Shakespearean comedy, to provide other‘high tmhcol directors and casts with a workable script and stag~ ihg plans for Twelfth flight. The end result of this project, the presentation of Twelfth flight on the stage of the Grand ledge High School has indicated that Shakespearean production is feasible in the small school. Personal comment by com- nmnity leaders, which will be found in the appendix, has shown that a small community was successfully introduced to the enjoyment of Shakespearean comedy. Complete script and staging plans have been provided in Chapters III and VI to give other casts and directors workable tools for the production of Twelfth £1.89... The presentation described here was one of the bi- annual productions of the Grand Ledge High School dramatics department under the directorship of the teacher of the class in dramatic arts. Before the details of the adapting, directing, and staging problems of this production are des~ cribed, the reasons for presentation and adaptation and the .Jloln .s. I. m‘ r t' H T'iffr . ' M's-u I .1 Wu " E inc. U. l ‘1‘ lit. .3, 3! 4 cpl, 2 conditions under which the presentation was made should be re- ported. This chapter, then, will include an analysis of the specific situation under which motivation for Shakespearean production was given, a survey of suitable adaptations of Shakespeare for high school actors, descriptions of the Grand Ledge High School and the school community, considera- tions of the relationship of dramatics to the total school and community program, and a description of the school's facilities for dramatic productions. Motivation for Shakespearean production originated in the classes in English and dramatic arts which the direc- tor taught and was further fostered in her classes by the study of Shakespearean drama from an acting approach. Field trips to nearby colleges and little theaters enabled the students to see the possibilities of playing Shakespeare. Once the plan for Shakespearean production had been made, the director found little material in either previous production plans or printed scripts of suitable adaptability to high school. That any of the classics are infrequently produced "’3! be determined by study of the publications related to high school dramatic production. Seven hundred and forty Behools reported to the National Thespian Society the plays they had produced in the 1950-1951 school year. Nineteen °r these were classics: eight Moliere, seven Shakespeare, 3 and four Sheridan. The Shakespearean productions were four productions of 31.9.. Taming 9.; the. £13m, and one production each of g Winterig EELS.» A Midsummer Night's M, and 3.93.9. 9119, Juliet.1 A survey conducted by the Drama Division of the Michigan Speech Association showed that among three hundred and thirty-four productions done in the high schools of Fichigan in the 1950-51 school year, not a classic was listed among themz ' The infrequency with which Shakespeare is played in high school may be accounted for in part by the lack of suitable published adaptations. The major dramatic publish- ing houses list the Globe Theater versions published by Samuel French and Forty Minute Classics published by How-- Peterson and only one three-act adaptation, a modernized version of 211g Taming 91 313%, published by Roan-Peterson.3 The Belle Kennedy version of 1113 Taming 9_f. the, w is now out of print. Samuel French lists acting versions from the English stage for the major works, and Macbeth and M m fillet as played by Edwin Booth, and A; You Like _I_t_, 1 Mimeographed list distributed by the National Thespian Society, College Hill Station, Cincinnati, Ohio, October, 1951. 2 Dittoed list distributed by the Drama Division Of the Michigan Speech Association, October, 1951. 3 RowbPeterson Plays Catalog (Evanston: Row-Peterson Company. 1952). p. 137 I. arranged by Alfred Young.u Harper and Brothers publish 'nw Mercury Shakespeare by Orson Welles and Roger‘Hill, vuth accompanying recordings.5 A brief description of the Grand Ledge High School mm.the school community will serve as a background for the gmoblem. The school is a class B high school, located in aitown with pepulation of five thousand, eleven miles from lensing. The Inter-scholastic Athletic Association and the Enate Department of Public Instruction designate class B lugh schools on an enrollment basis of two hundred and ninety- rune minimum, seven hundred and ninety-nine maximum. The school draws its students from a rural area of approximately fines hundred square miles. It has an enrollment of seven tmndred and fifty-eight pupils in its eighth, ninth, tenth, eleventh, and twelfth grades. Fifty-eight per cent of its students are brought to school by bus. The school is a number of the seven school Capital Circuit League in sfifletic competition, a consistent first division band Winner in the Michigan Band and Orchestra Association Fbstival, the location of one of the six largest Future Farmers of.America chapters in the state. In 1951 the h Basic Catalogue of Plays (New York: Samuel French, 19h6), p. 362 5 Orson Welles and Roger Hill, editors, The Mercurz §h§hespeare (New York: Harper and Brothers, 1939 D M‘ is : o ‘:‘:-2 e. .. ”H 00- 5 school graduated about seventy-rive per cent of its l9h7~u8 freshman class. Twenty~six per cent of these graduates entered institutions of higher learning.6 The state aver— age graduation of ninth graders of the same year was seventy- one per cent] An understanding of characteristics of the adult Impulation will round out the picture of the school com- nmnity. The majority of the wage earners are farmers or unskilled or semi-skilled factory workers. The number or pmofessional workers is low. The educational status of the emults of the school-community may be indicated by a survey made in 19h9 which listed the following figures for parents of high school pupils: 7.8 per cent did not complete elementary school; 23.16 per cent completed elementary school; 31.12 per cent attended, but did not finish high school; 19.2 per cent completed high school: 6.72 per cent attended but did not finish college, normal, or Junior college; h.8 per cent completed normal school or Junior 6 Mimeographed sheet on file in office of Superin- tendent of Schools, Annual Dmmogt Stggy (Grand Ledge Public Schools, 1952) 7 J. F. Thaden, “Potential Michigan Public School Ehrollment” Article 3h~53, arterl Bulls in, Volume 3b, leber h (East Lansing: Mic igan Agricu tural Experiment Station, May 1952), p. #59 college; 7.2 per cent completed a fourbyear college course.8 This educational status may be reflected in the vocabulary level of the high school pupils who rank slight~ 14 below established norms on the language sections of the (hlifornia rental Maturity test, the Grand Ledge High Ekhool student's median age on language sections of the test being from two to four months below his chronological age in testing results of the last five years.9 The social and cultural life of the community is influenced by its proximity to Lansing. Many teen-agers and young adults find recreation in Lansing's bowling alleys, roller rinks and motion picture theatres. A very small percentage of the town's pepulation attend the Michi~ gen State College lecture-concert series, the Lansing civic concert series, or the Lansing Civic Theatre Guild pro~ ductions. A very few adults are members of professional r—Zj Iii—‘53, F Gsnnasivm floorlcvc l Ground. Plan Stage and adieu’nin? room: Grand. Leige Higksdtool Scale ‘9'” = I'o” December 3!, lq5'2. CHAPTER II AN ANALYSIS OF THE PROBLEMS OF PLKY SELECTION AND CASTING Before the details of the adapting, directing, and staging of this production are described, the reasons for selection of Twelfth Eggh§,and the casting problems which were involved should be given. This chapter will record the situation in which the play selection was made, the considerations which led to the choice of Twelfth,flight_for production, and the factors which influenced the casting of it. At Grand Ledge High School there is no standing com- mittee for play reading. Play reading is encouraged by the maintenance of a library of over two hundred one~act and three-act plays in the dramatic arts classroom and the teacher’s requirement of play reports by the students in dramatic arts. In addition to the use of many plays for reading alone, the students in dramatic arts use the play library for acting assignments in their classwork. Another project which encourages participation in play selection and reading is a written unit in which every student in the class in dramatic arts studies play catalogues, selects a play suitable for production in the local situation, tentatively casts it, and designs the scene for it. The reading of l9 Shakespearean plays is encouraged by studies in the tenth grade English classes and the class in dramatic arts. Many copies or a variety or Shakespearean plays are made avail- able in the classroom library. In addition to reading, numerous activities in acting are undertaken. Play selection of the biannual Thespian productions is on an informal basis. There is no play selection com- mittee. With the environment or reading described above, interested students discuss, both among themselves and with the teacher, many plays vhich‘they consider possibilities for production. Once the motivation for Shakespearean pro- duction had been given, as indicated in Chapter I, the teach~ er constantly sought eXpressions of Opinion as to which Shakespearean play was considered most suitable for production. Thus, although the final selection or the Shakespearean play for production in 1952 was the director's responsibility, this selection was not done without previous indication by the students that they would concur with the choice. The problem of play selection was siMplitied at the beginning by the elimination of the Shakespearean tragedies as possibilities for production in the specific situation. The lack of interest on the part of the Grand Ledge students for production of Shakespearean tragedy motivated this elimi« nation. EXperienoes with Shakespearean drama in English classes, as indicated in Chapter I, had proved the greater 20 pepularity, in the specific situation of the comedies. Those comedies which were favorites with the students were The Tempest, §_Midsummer flight's Dream, The Egging 9; the Shrew, 3.3 You 141;; It, and Twelfth Night. The Tempest was eliminated first because of its staging complexities. Inadequate lighting for the storm scene and the absence of rigging facilities made the preper pictorial background a difficult problem. ‘§_Midsummer Night'g‘ggggm presented problems of staging and audience reaction. Again the lack of adequate lighting, plus the absence of suitable cyclorama made extremely difficult the background of beauty which might enhance the production. In addition, the fantasy was considered perhaps more difficult than comedy to sell to the potential school audience. Throughout a five-year acquaint— ance with students of the community the director had noted a particularly negative response to literature of fantasy. For this reason, she felt that the first introduction to Shakespearean production should not be a play that demanded much use of imagination. The. gaming 2; £133 £1339; had been greatly enjoyed by the students and might have been well- cast in all but the role of Katherine. The absence of a suitable actress for the major role removed the play from consideration. The choice then rested between is .193. Like ,;£,and Twelfth Night. Casting considerations at length ruled out is £93 £133 Lt. Although many of the roles could have 21 been cast and adequately played, there were, in this parti- cular year, no actors capable of handling the romantic quali- ties of Rosalind and Orlando. Twelfth flight offered good comedy, an excellent distribution of roles, technical problems not insurmountable on the small stage, and roles well within the understanding of young actors. In addition, the situap tion of mistaken identity of Viola and Sebastian presented possibilities for publicity that would be attractive, parti~ cularly to students. How this was used will be found in the section on publicity in Chapter VI. Vhile play selection was still tentative, actors suitable for the major roles in the last three plays listed above were contacted and asked to read lines for the direc- tor. In this way suitable potential actors were found before the final decision on play selection. A brother and sister, very similar in appearance, intelligent, good-looking, and capable, although inexperienced on the stage, were tentatively selected for the roles of Viola and Sebastian. Two or three students for each of the other roles were checked for their availability before the final decision to use Twelfth‘flighg, for the production. As soon as selection was made, tryout material was prepared and mimeographed. There were selections for both boys and girls from one-acts, two modern three-acts, and two Shakespearean comedies, one of them Twelfth High . All 22 students trying out read all parts on the mimeographed sheets. This gave them an Opportunity to try many types of character. In addition, since poor readers are likely to do poorly in tryouts, pantomime problems were posed, to which the students could add dialogues if they chose. Try- outs lasted for three days, being scheduled during the dra- matic arts class to which students who had a study period at the hour the class not were admitted, and from three to five o'clock after school hours. Following a first reading, some students were asked to come for a second reading, or to read in groups so that relative sizes, coloring, and contrasting vocal qualities could be checked. The following qualities were sought in casting each actor: physical characteristics appropriate to the role and in proper balance and contrast with others in the cast, gen- eral intellectual capacity, mental approach to the role, and personal adaptability to the role. A brief description of students who filled the roles will indicate the degree to which these qualities were present. The brother and sister who played the twin roles were of average height, the boy being slightly taller. Both were dark-haired and fairuskinned. Both had low-pitched, we11~modulated voices. They were in- telligent young peeple from a home of culture and refinement. Their approach to any intellectual task always had been 23 serious and effective. The girl's personal adaptability to the role was a.weakness which.will be further outlined in Chapter V.‘ Olivia was the same height as Viola, but of more delicate build. Her features were refined, her voice light and of a higher pitch than Viola's. She, too, approached any mental task with intelligence and understanding. The possession of both dignity and a well-defined interest in the Opposite sex gave her a personal adaptability to the role of Olivia.' Maria was the smallest person in the cast, a pert, plump little blond, whose voice was between Olivia's and Viola's in pitch. She moved easily on the stage. ,A good intelligence, a sense of rhythm, and her easy adjustment to the boy actors who were cast in the other comedy roles made her the logical choice for Maria. The Duke Orsino was a tall, medium-blond with excellent carriage and commanding gesture, the drum major of the high school marching band. He possessed superior intelligence and an attitude of serious~ ness. Valentine and Curio were well-built boys, slightly shorter than Orsinc, chosen for their good looks and singing voices, since they served as revelers in the musical inter— lude preceding the wine cellar scene. Olivia's attendants were chosen for similar attributes. Both were pretty girls, one blond, one brunette. They sang alto and saprano parts in the revelers' song, and the soprano sang the madrigal in 2b the short scene preceding the final scene of the play. The sea captain who doubled as priest was an experienced actor who could be depended upon to do a small part well. This was important since he carried much exposition in the second scene. The seamen who doubled as officers were fairly tall boys with good postures and heavy voices, one very dark, the other a medium-blond. Antonio was played by a stocky boy with.full, mature voice, superior intelligence, and active imagination. Probably the most physical contrast was needed in the comedians. Kalvolio was a tall, well-built boy'with flexible voice. He had dark hair, heavy, dark eyebrows and high-bridged nose. His good intelligence was an asset, but his native dignity proved a handicap until he was able to channel it properly as will be indicated in Chapter V. Sir Toby had the heaviest build of the boys, a powerful voice, good comedy sense, and good gesture. A high degree of intellio genes and individuality made him an interesting problem in direction which will be further considered in Chapter V. Earlier experiences with the actor made the director eager to cast his as Sir Toby. Sir Andrew was played by another experienced actor, a boy with very slight build, good fal- setto voice when needed, excellent body control, and a good sense of comedy. His face was long and thin, with long nose and heavy black eyebrows. He possessed intelligence, flexi- bility, imagination, and a degree of vanity which the director 25 knew would be useful in the role of Sir Andrew. Fabian was between, Andrew and Toby in height, and more boyish looking than the other males of the cast. In casting him, the direc- tor believed that his sense of humor plus his earnestness could surmount his reading and learning difficulties. Fests was the shortest of the boys, slender, a medium-brunette, who had a pleasing tenor voice. His general intelligence and occasional prankishness seemed to fit him for the role. The three musicians had to be chosen for their competence on their instruments. By good fortune, they were rather small girls of comparable heights who looked attractive in page costumes. How the students here described were directed to use their physical and mental equipment in deveIOpment of their roles vill be explained in detail in Chapter V. CHAPTER III The Script of Twelfth Night Adapted for High School Production ACT I, SCENE I Business Cues Opening: Orsino is lounging in chair v.3. His attention to music is rapt. Curio on bench U. C. Fests on bench D.L., wood- wind trio behind him. 1. Trio plays introduction, Pests sings, plays guitar. 2. Fests rises, makes sweeping bow. 3. Orsino signals Fests to re- sume his seat. Song continues. h. Fests sits cross-legged on bench, his guitar in his lap. 5. Curio X to Orsino. 6. Curio shrugs slightly and resumes seat at bench U.C. Lights at Opening: House lights off Red and blue foots and borders Open act curtain Open forestage curtain Yusicians begin Warn Valentine entrance D. L. Duke: Fests: Duke: Curio: Duke: Curio: Duke: 26 ACT I, scene I An apartment in the Duke's palace. (1) Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away, breath; I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it. (2) If music be the food of love, play on; Give me excess of it, that,5 feeding on it, The appetite may sicken, and so die. That strain again! it had a dying fall: 0, it came o'er my ear like the sweet sound, That breathes upon a bank of violets, Stealing and giving odor! (3) Not a flower, not a flower sweet, On my black coffin let there be strewn; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand, thousand sighs to save, Lay me, 0, where Sad true lover, never find my grave, To weep there! Enough; no more; (b) 'Tis not so sweet now as it was before.3 (5) Will you go hunt, my lord? What, Curio? The ha Pt 1 Why, so I do, the noblest that I have: 0, when mine eyes did see Olivio (6) first Methought she purged the air of pestilence! That instant was I turned into a hart; And my desires, like‘73wift and cruel hounds, E'er since pursue me. How now! What news from her? Act I, scene 1 “Away before me to sweet beds of flowers.“ Business Cues 7. Valentine enters DL arch, Warn forestape curtain. bows elaborately, X to Duke. 8. Valentine makes sly panto- mine to Curio and Fests. 9. Orsino rises, signals others out. 10. Hild, sly pantomime of distaste, Curio and Valentino. 11. Exeunt Orsino, Curio, Valentine stairs U.L.C. Exeunt Fests, trio L. Close forestage curtain. Valentine: Tm". e : 28 (7) 50 please my lord, I might not be admitted; But from her handnaid I return this answer: The 5very sun itself, till seven years' heat, Shall not behold her face at ample View; But, like a cloistress, she will veiled walk And water once a day her chamber round With eye—offendingé‘tears: (8) all this to season A brother's dead love, which she would keep fresh And lasting in her sad remembrance. 0, she that hath a heart or? such devotion To pay this debt of love but to a brother, Vow will she love, when-{cupid's golden dart Hath killed the flock of all affections else That live in her;56 when she has given her heart To me, and all her sweet perfections nine! Away before me (9) to sweet beds of flowers: (10) Love-thoughts lie rich when canOpied with hovers. (ll) ACT I, SCLnE 2 Business Cues Opening: As the forestage Lights at opening: curtain is closing , the Sea Red and blue borders Captain enters outside R door, Alternate white borders Viola in his arms, followed Photo spot-flood DC by two seamen. They descend Bleacher spot steps to floor and ascend DR Spot on R door apron steps, advance to DC. Captain helps Viola to stand C. Captain L of C, seamen R of C. l. Viola looks about. 2. Viola turns to seamen for reassurance. 3. Viola turns to Captain. Scene: Viola: Captain: Viola: Captain: Viola: Captain: Viola: Captain: Viola: Captain: Viola: Captain: Viola: Captain: ACT I, SCENE 2 A seacoast (1) What country, friends, is this? This is Illyria, lady. And what should I do in Illyria? My brother he is in‘ Heaven. Perchance he is not drown'd: what think you, sailors? (2) It is perchance that you yourself were saved. (3) 0 my poor brother: and so perchance may he be. True, madam: and, to comfort you with.chance Assure yourself, after our ship did split, When you and those poor number saved with you Hung on our diving boat, I saw your brother, Most provident in peril, bind himself, Courage and hape both teaching him the practice, To a strong mast that lived upon the sea.3 There I saw him hold acquaintance with the waves ~fAs long as I could see. 3My own escape‘;is courage for my hope That he may live. Know'st thou this country? Ay, madam, well; for I was bred and born Not three hours' travel from this very place. Who governs here? A noble duke, in nature as in name. What is his name? Orsino. Orsino! I have heard my father name him; He was a bachelor then. And so is now, or was so very late; For but a month ago I went from here, ACT I, scans 2 Fhisiness Cues h. Viola X to Captain. Warn forestage curtain S. Exeunt DL arch, Captain supporting Viola, seamen following. Open forestage curtain Viola: Captain: Viola: Captain: Viola: Captain: Viola: 30 And then 'twas‘jlatest gossip - as, you know, What great ones do the less will prattle of, That he did seek the love of fair Olivia. What's she? A virtuous maid, the daughter of a count That died some twelvemonth since, then leaving her In the protection of his son, her brother, Who shortly also died: for whose dear love, They say she has5 given up the company And sight of men. 0 that I served that lady And might‘skeeo secret my identity Till time was ripe. That’would be hard to do Because she will admit no kind of suit, No, not the duke's. 3 There is a fair behavior in thee captain. (h) I pray you, and I'll pay most bounteously, 5To get me such disguise as shall become The form of my intent. I'll serve this duke. Thou shalt present me as aCYpage to him: It may be worth thy pains; for I can sing And speak to him in many sorts of music That will allow me very worth his service. Whaté’happens else to time I will commit; Only shape thou thy silence to my wit. Be you his‘rpage then and your mute I'll be. I thank thee: lead me on. (5) ACT I, scams 3 Business Cues Opening: Sir Toby is seated on Lights at Opening: bench R drinking deeply from his mug. Naria enters UR, surveys red, white, blue foots the scene, hands on hips, skips to Toby, snatches his mug. red, blue, alternate white borders 1. Re reaches for his mug, but Maria will not surrender it. PAR 38': R,C,L. 2. She takes his mug to the ser- ver UC. 3. He follows her to UC. h. He tries to put his arms about her and take his mug at the same time. 5. She snatches the mug, returns it to server. 6. He digs her in the ribs with his elbow. 7. He sneaks one hand behind her back, gets mug, hide it behind his back. 8. He Jumps onto chair R, raises his mug in toast. 9. Andrew enters UR, dances to stairs, flirts his lacy hanky. Throws arms wide in greeting. 10. Runs down steps to meet Toby UC. ll. Toby embraces Andrew. And- rew's feet leave the floor as the two knights whirl around. 12. He blows a kiss across Toby to Varia. Scene: Sir Toby: E". ari 3: Sir Toby: Maria: Sir Toby: ”aria: Sir Toby: Naria: Sir Toby: Varia: Sir Toby: Sir Andrew: Sir Toby: Sir Andrew: 31 ACT I, scene 3 A room in Olivia's house What a plague means my niece, to take the death of her brother thus? I am sure care's an enemy to life. (1) By my troth, Sir Toby, you must come in come in earlier 0' nights: your cousin, my lady, takes great exceptions to your ill hours.3 You must confine ourself withing the modest limits of order. 2) (3) Confine: I'll confine myself no finer than I am: these clothes are good enough to drink in: and so be these boots too; an they be not, let them hang themselves in their own straps. (h) That quaffing and drinking will undo you:(5) I heard my lady talk of it yesterday; and of a foolish knight that you brought in one night here to be her wooer. Who, Sir Andrew Aguecheek? Ay. he. He's as tall a man as any's in Illyria. What's that to the purpose? Why, he has three thousand ducate a year. (6) Ay, but he'll have but a year in all‘fthis money: he's but a fool and a prodiga1.53(7) He's drunk nightly in your company. with drinking healthe to my niece: (8) I'll drink to her as long as there is a passage in my throat and drink in Illyria:3 Look, wench: Here comes Sir Andrew Agueface. (9) Sir Toby Belch: how now, Sir Toby Belch: (10) (11) Sweet Sir Andrew: (12) Bless you, fair shrew. Ac: I, scrum 3 Business Cues 13. She curtsies. 1h. Toby nudges Andrew. 15. He sonroaches her, gigrlinn, and looking to Toby for spnrovsl. 16. Toby snatches his arm, pulls him DR. 17. At each definition Toby gives him a further shove toward Paris. 18. He speaks in shocked whisper. l9. Karin runs up UC steps. 20. Toby X to L, swings Andrew around heading him toward hurls. 21. He giggles, looks at Toby who sits in chair DL. 22. He stands on first step, gives her his hand. 23. She takes his hand. Then gives him a hearty slap with her other hand, exits laughing. 2“. Toby roars with laughter. Andrew X to bench B. Site disconsolete. 25. Toby clucks sympathetically. 26. Andrew removes his hat and sadly chews the edge of it. Faria: Sir Toby: Sir Andrew: Sir Toby: Sir Andrew: Naria: SirAAndrew: Sir Toby: Sir Andrew: Paris: Sir Toby: Sir Andrew: Maria: Sir Andrew: Maria: Sir Toby: Sir Andrew: Sir Toby: Sir Andrew: .3 32 And you too, sir. (13) (1h) Accost, Sir Andrew, accost. What's that? My nieoe's chambermaid. (15) Good Mistress Aocost, I desire better acquaintance. My name is Mary, sir. Good Mistress Mary Accost,-~ (16) You mistake, knight: "accost' is front(17) her, board her, woo her, assail her. (18)fIs that the meaning of “accost”? Fare you well, gentlemen. (19) (20) An thou let part so, Sir Andrew, would thou mightst never draw sword again. (21) An you part so, mistress, I would I might never draw sword again. Fair lady, do you think you have fools in hand? Sir, I have not you by the hand. Marry, but you shall have; and here's my hand.(22) Now, sir, (23) I have a fool, indeed. (2h) 0 knight, thou lackest a cup of canary wine; when did I see thee so put down? Never, I think, unless you see wine put me down. Methinks sometimes I have no more wit than an ordinary man has: but I am a great eater of beef and I believe that does harm to my wit.¥ (25) No question. And I thought that, I'd forswear it. I'll ride home tomorrow, sir Toby.37 Your niece will not be seen, (26) or if she be, it's four to one she'll none of me: the count himself here hard by woos hero ACT I, scams 3 Business Cues 2?. Toby X to him, gives him a hearty snack on the back. 28. Andrew grins and Jumps to his feet. 29. X below Toby, going DLC in a couple of silly steps. 30. Toby uncoils his whip and lashes it playfully about his ankles. 31. His back trick takes him ULC. 32. Toby approaches him, admiringly. 33. Sir Andrew comes DL, hold- ing out a scrawny leg, smirks and giggles at it. 3h. He points to his sides and heart. 35. Toby cracks his whio at Andrew's legs. Andrew bounds out of his way. They make a complete circle of the stage, Andrew skinning, Toby in pursuit, vaulting the bench DR, continuing DC, DL, UL, U0, and running out UR. Warn forestage curtain Close forestage curtain Sir Toby: Sir Andrew: Sir Toby: Sir‘Andrew: Sir Toby: £3 ir Andrew: Sir Toby: Sir Andrew: 311' Toby: Sir Andrew: Sir Toby: 33 She'll none of the count.3 (2?) Tut, there's life in it mm. (28) I'll stay a month longer. I am a fellow of the strangest mind in the world; I delight in masquee and revels sometimes altogether. Art thou good at these kickshaws, knight? ~3Faith, I can out a caper. (29) (30) And I can out the mutton to it! And I think I have the back-trick simply as strong as any man in Illyria: (31) (32) Wherefore are these things hid? What dost thou mean? Is it a world to hide virtues in? I did think by the excellent constitution of thy leg it was formedcrfor dancing! (33) Ay, 'tis strong, and it does indifferent well in a/Vflame-oolored stock. Shall we set about some revels? What shall we do else? Were we not born under Taurus? Taurus! That's sides and heart. (3h) No, sir, it is legs and thighs: (35) Let me see thee caperz'Ha: higher: ha, ha: Excellent: ACT I, scar Business 4 E h Cues Opening: Viola enters DR arch, X to C. A servant enters DL arch, X to C. The servant carries a small dagrer on a cushion. Val- entine enters DR arch, signals servants to place chair and footstool DR. 1. The servant presents the dag- ger. 2. Viola smiles, takes the dagger, places it in her belt. 3. Valentine X to Viola. h. Curio stands beside arch DL, bowing as the Duke enters. Viola backs UC. Valentine X to LC, covering her, bowing at Duke's entrance. 5. The Duke seats himself. Valentine X RC, still covering V1013. 6. She steps forward. 7. Re signals to the two ser» vants who exit DR arch. Val- entine X to UC. Curio remains at arch DL. 8. She steps closer to his chair. 9. He places his hand on here, pulls her to footstool at his feet. He keeps her hand in his, places it on the arm of his chair. Lights at Opening: red, white, blue foots red, blue, alternate white borders. photo snot-floods DC Warn Curio, Duke enter DL Enter Curio, Duke DL Scene: Servant: Valentine: Viola: Valentine: Viola: Curio: Duke: Viola: Duke; Viola: Duke: Viola: Duke: 30: ACT I, scans u A room in the Duke's palace raster Cesario! (1) From my lord, the Duke. (2) (3) If the Duke continue these favors towards you, Cesario, you are like to be much advanced; he hath known you but three days, and already you are no stranger. You either fear his humor or my negligence, that you call in question the continuance of his love. Is he inconstant, sir, in his favors? Ho, believe me. I thank y 0“. (h) Here comes the count. (5) Who saw Cesario, he? (6) On your attendance, my lord; here. .Stand you a while aloof. (7) Cesario, Thou knowest no less but all; I have unclasped To thee the book even of my secret soul; Therefore, good youth, addressj'yourself unto her; Be not denied~5admittance, stand at her door, And tell them there thy fixed foot shall grow Till thou have audience. Sure, my noble lord, If she be so abandoned to her sorrow As it is spoke, she never will admit me. Be clamorous and leap all civil bounds Rather than make unprofited return. (8) Say I do speak with her, my lord, what then? (9) c, then unfold the passion of my love, Surprise her with disoousse of my dear faith: It shall become thee well to act my woes; She will attend it better in thy youth Than in ac‘messenger's of more grave aspect. ACT I, SCENE A Business Cues 10. She turns her head away. Warn forestage curtain 11. He places his hand under her chin and pulls her face toward his. 12. He places his hand on her shoulder. 13. He rises. She stands also. 1h. Orsino turns, exits DR. Viola stands looking after him, X to exit DL. Curio follows her out. Valentine exits DR, assisting servants who have re- Open forestage curtain entered to remove chair and footstool DR. Viola: Duke: Viola: 35 I think not so, my lord. (10) Dear lad, believe it; For they shall yet belie thy happy years, That say thou art a manz5'(11) a baby's lip Is not more smooth and rubious; thy smallf'voice Is as the maiden's4fvoice, shrill and sound,‘ (12) I know thou art the man that I should send For this affair.53(13) Prosper well in this, And thou shalt live as freely as thy lord, To call his fortunes thine. I'll do my best I To woo your lady; (1h) But, 0, unhappy strife! Who'er I woo,-myself would be his wife! ACT 1, fl ; 97"1 L; (I. 5‘ .fo Cues . ‘ — . _.. —. .—.— .. —-.-—-‘---.... ...- ..—- -—- -- Opening: Forte is sitting cross- legged on the platform UC. Naria stands over him scolding. l. Malvolio enters DL arch, claps hands, enter Lady I with cushion, Lady II with book. He claps again, Lady II X to platform, puts book on table, stands R.of table. Lady I X to chair on platform, puts cushion on it, descends steps, to stand UR. Not satisfied, Ralvolio X to readjust cushion. Signals Lady I to summon Olivia. 2. Lady I bows at arch DL as Olivia enters, X to platform. Lady I goes UR. 3. Varia exits UR. Clown runs down steps to behind UR hedge. Fabian enters, stands UR. u. Olivia X below Nalvolio who bows. Lady II on platform bows as Olivia seats herself. Lady II hands Olivia her book. 5. Feste runs to below platform, makes sweeping bow. 6. She resumes reading. 7. He looks first to Fabian, then Kalvolio. 8. Malvolio thumps his staff twice, takes step toward Fests. Olivia stOps him with a lift of her hand. 9. Fests advances to the tsp step. 10. She closes the book. Hands it to Lady II who puts it on table. Lights at Opening: red, white, blue foots red, blue, alternate white borders PAR 38's R,C,L Bleacher spot Enter*Valvolio, Lady I, Lady II DL arch Enter Olivia DL arch Enter Fabian UR Scene: Naria: Clown: Faria: Clown: Olivia: Clown: Olivia: Clown: Olivia: Clown: Olivia: Clown: Olivia: Clown: Olivia: Clown: 36 ACT I, SCENE 5 Olivia's garden Nay, either tell me where thou hast been, or- I will not cpen my lips so wide as a bristle may enter in way of thy excuse. Yy lady will hang thee for thy absence. Let her hang me: he that is well hanged in this world needs to fear noj'enemies.3 Peace, you rogue, no more of that. (1) Here comes my lady. (2) Make your excuses wisely, you were best. (3) wit, and it be thy will, put me into good fooling! 3 (h) God bless thee, lady! (5) Take the fool away. (6) Do you not hear, fellows? (7) Take away the lady. Go to, you're a dry fool. I'll no more of you. Besides, you grow dishonest. Two faults, madonna, that drink and good counsel Will amend. 3 The lady bade you take away the fool; therefore, I say again, take her away! Sir, I bade them take away you. 3 Good madonna, give me leave to prove you a fool. (8) Nay, Valvolio. Can you do it? 5’ Easily, good madonna. Fake your proof. (9) I must6 question youfor it, madonna: good my mouse of virtue, answer me. Well, sir, for want of other idleness, I'll bide your proof. (10) Good madonna,--why mournest thou? ACT I, 0I: 5 Business Cues 11. He makes a triumphant wide- spread arm gesture. l2. Valvolio, all disapproval, does a double take, clears his throat before speaking. 13. Halvolio indicates Fests who has relaxed his gesture and sits knees wide apart, feet crossed, elbows on knees, hands dangling, mouth open. lb. Feste gives him a blaca look. 15. Maria enters DR arch, X to platform. ~ 16. Malvolio makes grand bow, X to DR arch. He is suddenly stooped by a loud hiccough which precedes Toby's entrance. Toby bows elaborately to Malvolio,then recognizing him, he wheels away, X to BL reeling. Halvolio shows dis- approval and exits. Titters from Lady I, II, and Maria. 17. Her voice brings Toby up short. 18. He belches budly, tries to make it pardonable by dalntly tapoing his mouth with finger tips. 19. He catches sight of Fests who comes DRC., lurches over to em— brace him, misses, falls flat. 20. Raises himself on one elbow, shakes other fist in air. 21. His head sinks again to floor. Fests gets his hands under Toby's armpits, assists him to his feet. Toby sags first to one side then the other, Fests trying to antic- ipate on which side his support is most needed. Together they stumble out DL arch. 22. She calls after him. Olivia: Clown: Olivia: Clown: Olivia: Valvolio: Olivia: Maria: Olivia: Faria: Olivia: Sir Toby: Olivia: Sir Toby: Olivia: Sir Toby: Olivia: 37 Good fool, for my brother's death. I think his soul is in hell, madonna. I know his soul is in heaven, fool. The more fool, madonna, to mourn for your brother's soul being in heaven! Take away the fool, gentlemen! (ll) '3 How say you to that, Halvolio? (l?) I marvel your ladyship takes delight in such a barren rasca1.3 Look you now, (13) ,he's out of his guard already; unless you lau h and minister occasion to him, he is gagged.<3 1h) 0, you are sick of self-love, Malvolio, and taste with a distempered appetite. 3 (15) Madam, there is at the gate a young gentle- man much desires to speak with you. From the Count Orsino, is it? I know not, madam: 'tis a fair young man. ‘3 Go you, Malvolio. If it be a suit from the count, I am sick, orb- not at home; what you will to dismiss it. 3 (16) By mine honor, half drunk. (1?) What is he at the gate, cousin? A gentleman. A gentleman? What gentleman? 'tis a gentleman here. (18) A plague 0' these pickle-herring! cHow now-~sot! (l9) Cousin, cousin, how have you some so early by this lethargy? Lechery? (20) I defy lechery! There's one at the gate! (21) (2?) Ay, marry,‘what is he? 3 ACT I, scars: 5 Business Cues 2e. Valvolio re-enters, X to DR of platform. 2b. Falvolio is annoyed with this interrogation. 25. Falvolio bows and exits DR arch. 26. Lady II assists Olivia with veil. halvolio steps through arch, followed by Viola. He indicates the general region of the platform to her and X to L. 27. Viola looks at Paris, Olivia, Lady I. II. 28. Viola approaches her. 29. She turns to Faria. Malvolio: Olivia: Malvolio: Olivia; kalvolio: Olivia: Malvolio: Olivia: Halvolio: Olivia: Viola: Olivia: Viola: Olivia: Viola: Olivia: 3s (23) Madam, yond young fellow swears he will speak with you. 3What is to be said to him, lady? He's fortified against any denial. Tell him he shall not speak with me. He has been tfold so; and he says he'll stand at your door5 like a post, but he'll speak with you. What kind of man is he? Why, of mankind. that manner of man? Of very ill manner; he'll speak with you, will you or no. Of what personage and years is he? (2h) Not yet old ejnough for a man, nor young enough for a boy; 'tis with him in standing water-~between boy and man.3 Let him approach. (25) Give me my veil. Come, throw it o'er my face. We'll once more hear Orsino' s embassy. (26) (27) The honored lady of the house, which is she? Speak to me; I shall answer for her. Your will? (28) Most radiant, exquisite and unmatched beauty. (29) I pray you, tell me if this be the lady of the house, for I never saw her; I would be loath to cast away my speech, for3 I have taken great pains toé'learn it.5 Whence came you, Sir? I can say little more than I have studied, and that question's out of my part. Good gentle one,5 are you the lady of the house? If I do not usurp myself, I am.3 Speak your office. Business Cues 30. Valvolio signals to Maria and Fabian who exit UR, and to Lady I and II, who exit UL. He struts out after them. Olivia descends platform, X to bench L and sits. Viola follows her to LC. 31. Olivia lifts her veil. Viola looks at her searchingly. 32. She turns her back on Olivia and strides C, dismay in her voice. 33. Viola goes toward her earnestly. Viola: Olivia: Viola: Olivia: Viola: Olivia: Viola: Olivia: Viola: Olivia: Viola: Olivia: Viola: Olivia: Viola: 39 It alone concerns your ear.3 What are you? What would you?3 ithat I am, and what I would are to your ears, divinity, to any others5 abomination. Give us the place alone: we will hear this divinity. (30) Now, sir, what is your text? Most sweet 1ady,-- A comfortable doctrine, and much may be said of it. Where lies your text? In Orsino's bosom. In his bosom! In what chapter of his bosom? To answer by the method, in the first of his heart. 0, I have read it; it is‘f false. Have you no more to say? Good madam, let me see your face. Have you any commission from your lord to negotiate with my face? You are now out of your text. But we will draw the curtain and show you the picture.3 (31) Lady, you are the cruellest she alive, if you will lead these graces to the grave and leave the world no copy. 0, sir, I will not be so hardahearted; I will give out schedules of my beauty; it shall be inventoried and every particle labelled in my will: as, item, two lips, indifferent red; item, two grey eyes, with lids to them; item, one neck, one chin, and so forth. Were you sent hither to praise me? I see you what you are, you are too proud; (3?) But, if you were the devil, you are fair. (33) My lord and master loves you: 0, such love could be but recompensed, though you were crowned The‘beauty of all beauties.3 ACT I, SCLNE 5 Business Cues 3h. She approaches Olivia and speaks passionately. 35. Olivia is intrigued. 36. X to C. 37. X to first step of platform. 38. She runs to Olivia. 39. She bows formally. no. Viola turns and starts toward DR arch. Olivia calls after her. bl. Viola stops. Olivia hurries after her. #2. Viola start again to go. Olivia offers her the purse that hangs at her side. #3. Viola turns abruptly and strides off DR arch. Olivia stares after her, X to C. #0 Olivia: Your load does know my mind; I cannot love him:3 . He might have took his answer IGOR sac. Viola: (3b) If I did love you in my master's flame, with such a suffering, such a deadly life, In your denial I would find no sense; I would not understand it. Olivia: (35) Why, what would you? Viola: Make me a willow cabin at your gate, And call upon my soul within the house; (36) Write loyalé'stanzas of‘”my truest love And sing them loud even in the dead of night; (37) Halloo your name to the‘5reuechoing hills And make the babbling gossip of the air Cry out ”Olivia2" (38) 0, you should not rest hetween the elements of air and earth, But you should pity me: Olivia: You might do much. What is your parentage? Viola: Above my fortunes, yet my state is well: I am a gentleman. (39) Olivia: Get you to your lord; I cannot love him: let him send no more; Unless, by chance, you come to me chain To tell me how he takes it. (#0) Fare YOU well:(bl} I thank you for your pains. (#2) Spend this for me. Viola: I am no fee'd post, lady; keep your purse: hy master, not myself, lacks recompensel‘3(h3) Olivia: “What is your parentape?" “Above my fortunes, yet my state is well: I am a gentleman.“ I'll be sworn thou art; Thy tongue, thy face, thy limbs, actions and spirit, Do‘fsay indeed thou art.‘ Not too fast: soft, soft: Unless the master were the man. how now: Even so quickly may one catch the plague? I think I feel this youth's perfections ACT I, scxns 5 Business Cues uh. Olivia‘s eyes fall on a ring she wears. Her eyes light up with a plan. X to platform UC, takes bell from table and rings it. #5. Nalvolio enters L, X to C. Enter Halvolio Q6. She holds it out to him. He warn forestefie curtain eyes it and her with thinly veiled disapproval. He takes it, X slowly to RC, halting at her next words. h7. Malvolio makes a dignified orogression to R, halting again at her next words. QR. Halvolio stares at her. h9. Fe makes a low slow bow, and Close forestage curtain takes a deliberate exit DR. 50. At C. 51. She stands entranced as the forestage curtain closes. halvolio: Olivia: ”alvolio: Olivia: #1 with an invisible and subtle stealth To creep in at mine eyes. Well, let it be. (as) What ho, halvolio! _Here, madam, at your service. (MS) Vun after that same peevish messenger, The county's man: he left this ring behind him. (h6) Desire him not to flatter with his lord, Nor hold him up with hOpes; I am not for him: (#7) If that the youth will come this way to-morrow, I'll give him reasons for 't. (#8) Hie thee, Malvolio. yaaam,-~I will. (#9) (50) I do I know not what, and fear to find nine eye too great a flatterer for my mind. Fate, show thy force: ourselves we do not owe- What is decreed must be, and be this~~eoi (51) Cues Opening: Sebastian enters from outside R door, followed by Antonio. They descend steps to floor and ascend R apron stairs to stage, X to DC. 1. Sebastian laughs somewhat ruefully, wipes tear from corner of his eye. Then he pulls him. self up and X below Antonio to 8X1 t DR 8.th 2. Antonio looks after him with indecision, manes up his mind, and follows after him.' 3. Viola enters DL arch, X briskly to C. Malvolio follows. h. Viola stone and turns to him. 5 Nalvolio places the ring on éip of his staff and drops it at her feet. Viola glares at it, and then at him, her hands on hips. 6. Malvolio turns, exits grandly DL aPCh. Lights at Opening: red, white, blue fOOtS red, blue, alternate white borders nhoto spot—floods DC bleacher spot spot on R door Warn entrance DL arch Viola, Malvolio Enter Viola, Malvolio, DL arch Antonio: Sebastian: Antonio: Sebastian: Antonio: Sebastian: Antonio: Nalvolio: Viola: Halvolio: Viola: Halvolio: #2 ACT I, SCENE 6 Will you not that I go with you? By your patience, no;9 Let me yet know of you whither you are bound. No, sooth, sir.3 But I see in you so excellent a touch of modesty, that you will not extort from me what I am willing to keep in; therefore it charges me in manners the rather to express myself. You must know of me then, Antonio, my name is Sebastian.3 My father was that Sebastian of hessaline, whom I know you have heard of. He left behind him myself and a sister, both born in an hour. If the heavens had been pleased, would we had so ended! but you, sir, altered that; for some hour before you took me from the breach of the sea was my sister drowned. Alas the day! A lady, sir, though it was said she much re- sembled me, was yet of many accounted beautiful.5 I am yet so near the manners of my mother that upon the least occasion more mineeyes will tell tales of me. (1) I am bound to Count Orsino's court. Farewell. The gentleness of all the gods go with thee! I have many enemies in Orsino’s court, Else would I very shortly see thee there. (2) But come what may, I do adore thee so, That danger shall seem sport, ha! and I will 501(3) Young gentleman! Young gentleman! were not you even now with the Countess Olivia? (h) 3 Even now, sir. She returns this ring to you, sir. You might have saved me my pains, to have taken it away yourself. (5) I'll none of it. Come} sir, you peevishly threw it to her; and her will is, it should be so returned. If it be worth steeping for, there it lies in your eye; if not, be it his that finds it.(6) ACT I, scans 6 Business Cues 7. Viola st00ps, picks up ring, Lights: regards it quizically. Take out spots 8. She shrugs in good-humored helplessness, exits DR arch Take down white borders and foots. 9. Musicians enter, take UL, play introduction to It fla§,a Laughter off DL arch Love: and His Lass. Revelers enter laughing. They dance and sing to music, exit DR arch. Fusicians exit DL arch as the forestane curtain Opens. Enter musicians Enter revelers warn forestage curtain Open forestage curtain Viola: Revelers: 1+3 I left no ring with her: what means this lady?(?) Fortune forbid my outside hath not charmed her! She made good view of me; indeed, so much, That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure! 3 I am the man!3 My master loves her dearly; And I, poor monster,6 an as fond of him; And she, mistaken, seems to dots on me! What will become of this? As I am a man, Fy state is desperate for my master's love; As I am woman,~-now alas the day!-- What thriftless sighs shall poor Olivia breathe! 0 time! thou must untangle this, not I; It is too hard a knot for me to untie! (8) 2(9) It ins a lover and his lass, With a hey, and a he, and a hey, no, ni, no, That oe'r the green corn field did pass, In the spring time, the only pretty rinn time, When birds do sing: hey, ding, a-ding, ding, ding. Sweet lovers love the spring. ACT I, earns 7 Business Cues Opening: Fests at bench DR play- Lights at opening: ing and singing. Toby sprawled Front red borders in armchair R of L table. Andrew Rear blue borders in straight chair L of table. Red foots Toby has cup, Andrew, ladle. They suing them in time to music. Andrew has punch bowl in lap. 1. Knights salute Fests and drink.. Toby drains his, hold it at arm s length for Andrew to fill. 2. Toby bangs empty cup upside down on table, rises unsteadily, X downstage of table, takes bowl from andrew, drinks directly from it. 3. He returns to his armchair. b. He fills Toby‘s empty cup; 5. They drink together; Toby finishes his. 6. Feste X to table L, sits on it. 7. He leans toward Toby, both hands on the table in front of him. 8. Same gesture toward Andrew. 9. He finishes his drink. Feste continues his song. Scene: Fests: Omnes: Sir Toby: Sir Andrew: Sir Toby: Si 1‘ And rew; Sir Toby: Clown: Sir Toby: Sir Andrew: Sir Toby: Clown: Sir Toby: Sir Andrew: 4# ACT I, SCENE 7 A wine cellar in Olivia's house. ’0, mistress mine, where art thou roaming? 0, stay and hear; your true love's coming, That can sing both high and low: Trip no further pretty sweeting; Journeys end in lovers' meeting, Every wise man's son doth know. Every wise man's son doth know. (1) Approach, Sir Andrew; not to be a—bed after midnight is to be up betimes; andj'thou knov'st-- Nay, by my troth, I know not. But I know to be up late- is to be up late. A false conclusion; I hate it as an unfilled can! (2) To be up after midnight and to go to bed then, is early; so that to go to bed after midnight is to go to bed betines. Does not our life consist of the four elements? (3) Faith, so they say; but I think it rather consists of eating and drinking. (a) Thou'rt a scholar; let us therefore eat and drink!53(5) ‘ (6) How now, my hearts!3 5 catch-song.3 4 Now let's have a Excellentl3 Come on; there is sixpence for you: let's have a song.3 would you have a love-song, (7) or a song of good life? (8) A love-song, a love-song. Ay, ay; I care not for good life. (9) ACT I, scans 7 Business Cues 10. He stammers on it. 11. He kisses his finger tips. 1?. He lays a forefinger beside his nose. 13. A silly titter. 1h. Maria stands on platform UC, hands on hips, surveying the scene. She shrieks at them. 15. She comes down steps. 16. As toby rises to greet her, Fests swings his legs over Toby's head, ending in a spring on the floor behind the table. Toby gets to his feet, takes her hands, whirls her in a fast circle that ends with a plop in his chair, Maria on his lap. 17. She shakes her finger in Warn Halvolio entrance his face. UL 18. He Jiggles her up and down on his knees. Clown: Omnes: Sir Andrew: Sir Toby: Sir Andrew: Sir Toby: Sir Andrew: Clown: Sir.Andrew: Omnes: Maria: Omnee: Maria: Sir Toby: Clown: “5 What is love? 'tis not hereafter; Present mirth hath present laughter; what's to come is still unsure; In delay there lies no plenty; Then come kiss me, sweet and twenty, Youth's a stuff will not endure. Youth's a stuff will not endure. (10) A mellifluous voice, as I an true knight. (11) A contagious breath. Very sweet and contagious, in faith. (12) To hear by the nose, it is"sweet in contagion. But shall we make the welkin dance indeed? Shall we rouse the night- owl in a 5song that will drown all our sorrows? Shall we do that? An you love me, let's do iti‘gaegin, fool: it begins: “Hold thy peace.“ I shall never begin if I hold my peace. (13) Good, in faith. Come, begin. Hold thy peace, And I prithee hold thy peace, Thou knave: ‘Hold thy peace, thou knave, Thou knave: (lb) What a caterwauling do you keep here! (15} Maria! Sweet wenoh! (16) (17) If my lady have not called up her steward .Nalvolio and bid him turn you out or doors, never trust me.3 Am I notfher kin? Am I not her blood? (18) ”There dwelt a man in Babylon, lady, lady!” Beshrew me, the hnight's in admirable fooling. Act I, scene 7 ”My masters, are you mad, or what are you?" #6 ACT I, scans 7 Business Cues 19. Palvolio enters in nightgown and cap, carrying lantern, pauses on platform, glares at revelry. Toby shoves Maria from his lap to floor. 20. He comes C. All eyes are Enter Malvolio UL on him. 21. Toby waves his hand in drunken dismissal, reaches across table for bowl and ladle. 22. Toby silences Andrew's off- key song with a crack over the head with the ladle. 23. Andrew titters. 2h. Sir Toby jumps, almost throwing Malvolio off balance. 25. Fests runs up behind Malvolio, at his right, Joining‘with Toby in mocking song. Toby pulls Maria to her feet. They make a circle around Nalvolio catching Andrew into it on their way around. Nalvolio is furious. He shakes lantern above his head. 26. The circle breaks. Fests, Andrew, and Maria fall back, laughing and panting. Andrew sinks into his chair. Maria URC, Feste ULC. Toby, on Mal- volio's R shakes his fist in Nalvolio's face. Sir.Andrew: Sir Toby: Maria: Kalvolio: Sir Toby: Nalvolio: Sir Andrew: Malvolio: Sir Toby: Clown: Sir Toby: Malvolio: Clown: Sir Toby: Malvolio: Glenn: #7 Ay, he does well enough if he be disposed, and so do I too; he does it with.a better grace, but I do it more natural. '0' the twelfth day of December,"-- For the love 0‘ God,--peace! (19) My masters, are you mad, or what are you? (20) Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of the night?3 In there no respect of place, persons, nor time in you? We did kee time, sir, in our catches.‘ Go hang! (21) Sir Toby, I must be round with you, My lady bade me tell you, that, though she harbors you as her'kinsman, she's nothing allied to your disorders. "There dwelt a man in Babylon, lady, lady!” (22) If you can separate yourself and your mis- demeanors, (23) you are welcome to the house; if not, and it would please you to take leave of her, she is very willing to bid you farewell.(2u) “Farewell, dear heart, since I must needs be gone.'* (25) "His eyes do show his days are almost done.“ “ ”Farewell, dear heart, but I will never die.” “Shall I bid him go?‘ Peace! Peace! “What an if you do?" "Shall I bid him go, and spare not?" Peace, I say: *0 no, no, no, no, you dare not.” (26) ACT I, scant 7 Business Cues 27. He yanks disrespectfully at the badge of office which hangs from a chain around Malvolio'e neck. 28. He X Malvolio to sit in arm- chair. Maria X upstage with punch bowl, fills it from keg UC, goes to back of table with it. 29. Feste stands UR of Malvolio, unseen by him, mimicking every gesture. 30. Maria shoos him out UL, shak- ing her apron at him. He attempts impressive exit, catches his foot on nightgown on first step, re- trieves dignity, stalks out UL, closely followed by Feste who imitates him and exits also. 31. Maria returns to Toby, places her arms about his neck. 32. She struts C in imitation. 33. Skips to table and sits on downstage end of it. 3h. Toby lays a forefinger on nose. 35. Andrew does the same. 36. She Jumps down from table X to small table R, takes two candles, X upstage to end of L table, places candles on it. 37. She stifles a yawn. 39. She ascends the platform, waves affectionately and skips out UL. Warn forestape curtain Warn act curtain Sir Toby: Nalvolio: Maria: Sir Toby: Maria: Sir Toby: Sir.Andrew: Sir Toby: Sir.Andrew: ‘Haria: Sir Toby: #8 Out 0' tune? sir, ye lie. Art any more than a steward? Dost thou think because thou art virtuous, there shall be no more cakes and ale? Go, sir, rub you chain with crumbs. (2?) A stoup of wine, Maria! (28) 3 Mistress Mary, (29) if you prized my lady's favor at any thing more than contempt, you would not give means for this uncivil rule. She shall know of it, by this hand. Go shake your ears.3 (30) Sweet Sir Toby, (31) be patient for to-night; since the youth of the count's was to-day with my lady, she is much out of quiet. For Monsieur‘Nalvolio, (32) let me alone with him: if I do not gull him into a byword, and make him a~’laughing stock, do not think I have wit enough to lie straight in my bed; I know I can do it! Possess us, possess us:¢?What wilt thou do? (33) I will drOp in his way some’Eecret love letters, wherein, by the color of his beard, the shape of his leg, the manner of his walk, theJexpress- ion of his eye, forehead, and complexion, he shall find himself most feeling personated. I can write very like my lady your niece: on a forgotten matter we can hardly make distinction of our hands! Excellent! I smell a device! (3“) I have it in my nose, too! (35) He shall think, by the letters that thou wilt drOp, that they come from my niece, and that she's in love with him!3 0, 'twill be admirable! Sport royal, I warrant you!3 (36) I will plant you two where he shall find the letter; observe his construction of it. For this night, to bed, (37) and dream on the event. Farewell! (38) Good night;fsweet wench. ACT I, SCENE 7 Business Business Cont. 39. Drunkenly sorry for himself, he punctuates the last three words by dropping his chin lower and lower until it hits the table. His eyes close. to. Sir Andrew does not move. Toby reels to him and pats him on head once. No response. #1. He tries it again, but misses him, pats table instead. Puts hands under Andrew‘s armpits and pulls him to his feet, below table. They sway uncertainly. uz. Toby puts finger to lips, looks around. u3. Andrew Opens eyes, does same. an. Rests head on Toby's shoulder. Sobs. hS. Toby pats him affectionately on back. Tries to prep him up; but Andrew falls back onto Toby's outspread palm. Props him again, tests his stability, thinks it will do, leaves him long enough to go They try again, passing each other entirely. Again, and the candles touch so viciously that lighted one is put out. Toby sets his on table, takes Andrew's, bangs it on table in disgust. 1:7. He takes Andrew's arm, but he is facing one way, Andrew the other. They circle counter-clockwise half way, stop, look blankr 1y at the seats of each other'e breaches. Complete the circle, repeat bus- iness of looking at each other's posteriors. #8. They drOp arms and link the other arms, which results in a clockwise circle. As he passes the punch bowl, Toby drOps Andrew's arm and drinks. Takes Andrew's hand, pulls him toward steps. Andrew gets away, totters back to table for the bowl,rejoine behind table for candles, gets one. Toby. Arms about each other, Meanwhile Andrew's legs go out from they careen up the steps under, he sits on floor, back again-and exit UL singing. at table, legs spread. Toby turns to pron again,feels no one there. Goes upstage of table,searching empty air with handle and calling. #6. X DC, steps unknowingly over Andrew's leg. Still looking at his own eye level, he drape candle to directly in front of Andrew's face. Andrew cpenseyee, blows it out. Toby discovers him, pulls him to his feet, braces him, gets lighted candle from table, and into Andrew's grasp. Attempts to light his own from Andrew's. They advance to each other, trying to -touch wicks, but as they almost make it, they reel backwards. Cass Close forestage curtain Close act curtain House lights on 81r,Andrew: Sir Toby: SirtAndrew: Sir Toby: Sir‘Andrew: Sir Toby: Sir Andrew: Sir Toby: Omnes: Before me, she's a good wench. She's true-bred, and one that adores me. What 0' that? (39) I was adored once, too. Let's to bed, knight. (to) Come, knight, let's to bed. (bl) Shhhh! (he) Shhhh: (h3) Thou hadst need send for more money. If I cannot recover your niece, I am a foul way out. (an Send for money knight;3 (#5) Knight, knight? Where art thou, knight? (#6) Come, come. I'll go burn some sack. 'Tis too late to go to bed now. (#7) Come, knight. (as) Come, knight: ”There dwelt a man in Babylon, lady, lady!“ ACT II, SCENE Business I Cues Opening: Duke enters R door, Viola following, descends R stairs, motions her to fol~ low, permits her to precede him. 1. They ascend apron stairs to DC. 2. She turns to face him, her left foot on the tOp C stairs. 3. Orsino turns aside impatient- ly. b. She sits on the too step. 5. She looks away from him. 6. He turns back to her with interest. 7. She looks up at him, then turns a little away. 8. She looks directly at him. 9. An amused smile crosses his face. 10. She stands, looks directly into Orsino's eyes. 11. She turns away in confusion. 12. She speaks briskly. Lights at Opening: Hours lights off red, white, blue foots photo soot-floods DC snot on R door bleacher spot Spot on R door out Scene: Duke: Viola: Duke : Viola: Duke: Viola: Duke: Viola: Duke: Viola: Duke: Viola: so ACT II, scene 1 (1) 7Get thee to‘Syonder cruel Olivia. {ell her my love, more noble than the world, } Cares not for all the wealth and lands she has,3 But say it is the beauty nature gave her That attracts my soul. (2) But if she cannot love you, sir? I cannot be so answered. Booth, but you must. (3) Say that some lady,-~as perhaps there 19,-- Hath for your love as great a pang of heart As you have for Olivia: you Cannot love her; You tell her so: must she not then be answer'd? 3 make no compare Between that love a woman can bear me And that I owe Olivia. Ay, but I know~~ What dost thou know? (h) Too well what love women to men may owe: In faith, they are as true of heart as we. My father had a daughter loved a man,-- As it might be, perhaosu- (5) were I a.woman,- I should your lordship. (6) And what's her history? A blank, my lord. (7) She never told her love, But let concealment, like a worm in the bud, Feed on her damask cheek: she pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. (8) Was not this love indeed?3 (9) But died thy sister of her love, my boy? (10) I am all the daughters of my father's house-~(ll) And all the brothers too: and yet--I know not. (12) Sir, shall I to this lady? 13. He taaes ring from his finger and gives it to her. lb. Viola X to DL. 15. He waves, swings about, X to DR, exits between proscenium arch and act curtain. Viola looks after him, kisses the ring, pulls herself up and exits DL between proscenium arch and act curtain. Warn act curtain Warn forestage curtain Open act curtain Open forestage curtain 51 Duke: Ay, that's the theme. To her in haste; (13) give her this Jewel, (lb) say, Ny love can give no place, bide no~idelay. (15) AC" II, scene 9 u Business Cues Opening: Toby enters UL, Andres Lights at Opening: DL, backing in, on tiptoe. They bump into each other C. Toby red, white, blue foots sweeps off his hat, bows elaborately, , Andrew follows in awkward imitation. red, blue, alternate Voby runs to platform, peers off white borders UR. Vhile there, he sees Fabian enter DR. He comes C to greet PAR jq's H,C,L him, Fabian on his R, Andrew on his I» 1. Fe it above Andrew, claps him heartily on back. 2. We secs “aria skinning in UR. Warn soot R door 3. Karla X to C b. She shows them. 4. She rushes them toward R. apron stairs: first Fabian, next Andrew, then Toby. They scramble down the stairs. Soot on R door 6. She drops the letter below L bench. 7. She looks off UR, ships to the others on apron stairs, gets down on hands and knees in front of Toby, peeks around proscenium arch. B. halvolio enters UR, talking to himself. 9. The four rise no: haria on hands and knees; Toby with his hands on her hips; Andrew looking over Toby‘s shoulders; Fabian, who is last in line, standing. 10. Andrew pushes Toby down by the shoulders. ' 11. Andrew shakes his fist. 12. Fabian pushes Andrew down by the shoulders. They all scramble onto stage, hiding below R bench. Spot R door out 13. halvolio reaches Olivia's chair UC. Scene: Sir Toby: Fabian: Sir Toby: Fabian: Sir Toby: Sir Andrew: Sir Toby: Paris: halvolio: Sip TOby: 81" Amirew: Muvolio' ACT II, SCENE 2 Another part of Olivia's garden. Come thy ways, Signior Fabian! Nay, I'll come: if I lose a scruple of this sport, let me be boiled to death with melancholy! Wouldst thou not be glad to have this rascally sheep-biter come by some notable shame? I would exult, man: you know, he brought me out o' favor with my lady about a bear-baiting here. To anger him we'll have the bear again; and we will fool him black and blue; shall we not, Sir Andrew? (1) And we do not, it is pity of our lives. (2),Here comes our little villain. How now, my ‘5 Jewel? (3) Get ye all three behind the garden wall: Malvolio'e coming down this walk. He has been yonder in the sun practising behaviour (h) to his own shadow this half hour. Observe him, for the love of mockery: for I know this letter will make an‘comoletc idiot of him! Close, in the name of jesting! (?) Lie thou there; (6) for'here comes the trout 7) that must be caught with tickling. (8) 'Tis but fortune; all is but fortune. Maria once told me she did affect me. Besides, she uses me with a more exalted respect than any one else that follows her. What should I think on it? (9) Here's an overweening rogue! (10) 0, peace!3 (11) Faith, I could so beat the' rogue! (12) Peace, I say! (13) To be Count' Falvolio! lb. Toby Jumps up. 15. Fabian signals Toby to get down. Malvolio looks R, arranges himself on chair. The tour crawl behind R bench to below R hedge. 16. Four heads up, Toby's highest. 17. Andrew pushes Toby down. 18. Toby up, Andrew pulls him down. 19. Toby up, Andrew pulls him down. 20. Nalvolio fingers badge, drops it in disdain. 21. Rises, X to sit L bench. Four scramble to behind R hedge. 2?. Toby rises from behind hedge. Andrew, Fabian pull him down, a hand on either shoulder. 23. Same business. 2h. Toby rises. This time Andrew and Fabian do not show their heads above hedge. Toby then is up and down like a Jack-in-the box. 25. Same business. 26. Andrew rises, grinning, is pulled. awn. Sir Toby: Fabian: Palvolio: Sir Toby: Malvolio: Sir Toby: Malvolio: Sir Toby: Malvolio: Sir Toby: Malvolio: Sir Toby: Halvolio: Toby: Malvolio: Sir Toby: Malvolio: Sir Andrew: Valvolio: 53 (la) Ah, rogue! 3 (15) 0, peace: now he' s deeply in: look how imagination blwws him up. Having been three months married to her, sitting in my state. (16) O; for a‘fsling-shot, to hit him in the eye! (1?) Calling my officers about me, in my‘frich velvet gown; having come from a day-bed where I have left Olivia sleeping,—- (18) Fire and brimstone33 And then to ask for my kineman Toby,-- (19) Bolts and shackles£3 Seven of my people, with an obedient start, make out for him; I frown the while; and orchance wind up my watch, or play with my-- 20) some rich jewel. (21) Toby approaches; curtseys to me, ~- (22) Shall this fellow live?3 I extend my hand to him thus, quenching my familiar smile with an austere regard of control,-- (23) And does not Toby take you a blow o' the lips, then? Saying, ”Cousin Toby,--” (at) What, what: ”You must amend your drunkenness.” (35) Out, scab! 3 “Besides, you waste the treasure of your time with a foolish knight, --I That's me, I warrant you! (26) One Sir Andrew.--» ACT II, SCENE 2 Business Cues 27. Andrew is up, again pulled down. 93. Sees letter, pokes it with staff, bends to pick it up. 29. Examines it. Four heads up, delighted grins on their faces. 30. Andrew, Fabian sneak from hedge, ascend R platform steps, tiptoe across, down L steps, hide behind.L hedge. 31. X to DR. Looks UR, almost catches Toby and Maria. Similar business UL. 32. Breaks seal on letter. 33. Four rise above hedges. 3h. Toby shakes fist, Malvolio looks UR, but they are out of sight. Similar business as he looks UL. 35. Reads last three phrases again with gestures, the last gesture indicating himself. 36. Resuming reading, paces DR. 3?. Turns pacing DL. 38. X to C, thinking it over. 39. Heads go down quickly as he turns to pace a few steps decisively toward UC. no. Walks UC. Four sneak around to below the hedges. ul. Tries a variety of smiles. The four get on knees to see. Sir Andrew: Valvolio: Fabian: Malvolio: Fabian: Malvolio: 5D I knew 'twas 113 (27) (28) Whatjhave we here? (29) Now is the woodcock near the‘rsnare.3 (30) By my life, this is my lady's hand!3 “to the unknown beloved, this and my good wishes:”-- her very phrases! (31) By your leave, wax.3 (32) To whom should this be? (33) This wine him, liver and all! "Jove knows I love: But who? Lips, do not move; No man must know.“ 3 “No man must know. No man must know." If this should be thee, ralvolio? (3h) Soft: here follows prose! 3"In my stars I am above thee; but be not afraid of greatness; some are born great, some achieve greatness, and some have greatness thrust upon 'em. (35) “Thy Fates Open their hands; (36) let thy blood and spirit embrace them; and, to inure thyself to what thou art like to be, cast thy humble appearance and appear fresh. (3?) Be Opposite with a kinsman, surly with servants; let thy tongue tang arguments of state; put thyself into the trick of singularity; she thus advises thee that sighs for thee. Rem- ember who commended thy yellow stockings and wished to see thee ever cross-gartered; (38) I say remember. 3 Farewell. She that would alter services with thee. The Fortunate- Unhapr-" (39) Daylight‘fdiscovers not more: This is cpen! I will be proud, I will read politic authors, I will baffle Sir Toby.3 I will be strange, stout in yellow stockings, and cross-gartered, even with the swiftness of putting on! (#0) Jove and my stars be praised! Here is yet a postscript. — "Thou canst not choose but know who I am. If thou entertainest my love, let it appear in thy smiling; thy smiles become thee well. (bl) Therefore in my presence still smile, dear my sweet, I prithee.“ ACT II, scams 2 Business Cues E2. Blows a kiss heavenward. Smiles first at one leg, then the other, lifting them aoprais- Warn forestage curtain ingly. He struts, exits DL. As he comes down, Toby and Maria scramble behind R bench, Fabian and Andrew retreat behind L bench. As soon as he is out, they tumble C. u3. Fe attempts to embrace her. She dodges behind Fabian. nu. Toby drOps to his knees by her R foot, places his head on ground. us. Andrew does the same before her L foot. She laughs, takes their arms, helps them to their feet. b6. She takes Fabian's right arm with her left, and they run out DL arch. “7. Toby and Andrew link arms and follow. Close forestage curtai n Fabian: Sir Toby: Sir.Andrew: Sir Toby: Sir Andrew: Maria: Sir Toby: 55 Jove, I thank thee: I will smile; I will do everything that thou wilt have me! (#2) I will not give my part of this sport for a pension of thousands to be paid from~fthe countess's treasury. I could marry this wench for this device! (b3) So could I, too.3 Wilt thou set thy foot on my neck? (to) Or on mine, either73 (1+5) If you will then see the fruits of the sport, mark his first approach before my lady: he will come to her in yellow stockings, and 'tis a color she abhors, and cross-gartered, a fashion she detects; and he will smile upon her, which will now! be so unsuitable to her disposition, being Jdrowned in melancholy as she is, that it cannot but turn him into a notabie)contempt1 If you will see it, follow me. 3 To the gates of Tartar! (h?) ACT II, SCENE 3 Business Cues Opening: Sebastian and Antonio enter DR arch, X to C. 1. Antonio takes his purse from belt, hands it to Sebastian. 2. Sebastian X to BL arch whistling. Antonio calls after him when he is nearly at arch. 3. He waves, exits DL arch. Antonio returns the salute, turns and exits DR arch. Lights at Opening: red, white, blue foots red, blue, alternate white borders photo spot-floods DC bleacher spot warn forestage curtain Open forestage curtain Scene: Sebastian: Antonio: Sebastian: Antonio: Sebastian: Antonio: Sebastian: Antonio: Sebastian: Antonio: Sebastian: 56 ACT II, scams 3 Another street I would not by my will have troubled you; But, since you make your pleasure or your pains, I will no further chide you. I could not stay behind you; my desire, More sharp than filed steel, did spur me forth.3 Py kind Antonio, I can no other answer make but thanks.3 Shall we go see the5 land-marks of this town? Would you'd pardon me; I do not without danger walk these streets; Once, in a sea-fight 'gainst the count's own frigate I did some service; or such note indeed, That were I taken here it would scarce be answered. 3 Do not then walk too open. It doth not fit me. Hold, sir, here's my purse. (1) In the south suburbs, at _the Elephant, Is best to lodge: I'll go order our supper Whiles you beguile the time and feed your knowledge With viewing of the town: there shall you have me. Why I your purse? ‘fPerhaps your eye shall light upon some toy You have desire to purchase; and your store, I think, is not for idle markets, sir. I'll be your purse-bearer and leave you for an hour.(2) Sebastian! To the Elephant! I do remember! (3) ACT II, scszs Business a Cues Opening: Toby seated bench DL, Fabian stands UR or him, Andrew paces back and forth from UC to DC. StOps C. Toby smiles affec- tionately at him. 1. Andrew stamps foot manfully. 2. Digs Toby in ribs with elbow, winks, X above Andrew, claps him on back, standing on Andrew's R. 3. Andrew blinks at Fabian. u. Pantomimes vicious thrusts. 5. Looks excitedly from one to other. 6. Toby gives him a shove. Andrew trots to DR arch, shakes fist in air. 7. Toby X to arch, pushes Andrew out, X back to Fabian C. Both laugh uproariously. Lights it opening: red, white, blue foots red, blue, alternate white borders. PAR 38's L,n,c Warn Maria enter DL arch Scene: Sir.Andrew: Sir Toby: Fabian: Sir Andrew: Sir Toby: Sir Andrew: Fabian! Sir Toby: 57 ACT II, scans u Olivia's garden 3 No, faith, (1) I'll not stay a Jot longer! Thy reason, dear venom, give thy reason. Ybu must needs yield your reason, Sir Andrew. Harry, I saw your niece do more favors to the Count'e serving-man than ever she bestowed upon me; I saw it in the orchard! Did she see thee the while, old boy? Tell me that? As plain as I see you now. This was a great argument of love in her towards you!43(2) She did favor to the youth in your sight only to exasperate you.3 YOu are now sailed into the north of my lady's opinion; where you will hang like an icicle on a Dutchman's beard, unless you do redeem it by some laudable attempt either of valor or policy. (3) Why then, build thy fortunes upon the basis of Valor! Challenge the count's youth to fight with him; hurt him in eleven places: (h) my niece shall take note of it; and assure thyself, there is no love-broker in the world can do more in man's commendation with.woman, than report of valor. There is no way but this, Sir Andrew. (5) Will either of you bear me a challenge to him? Go, write it in a martial hand; be curst and brief; it is no matter how witty, so it be eloquent, and full of invention.3 Go! About it! (6) Knave! Scurvy fellow! Where shall I find you? (7) We’ll call for thee at‘fthy bedchamber: go! 5 This is a dear fool to you, Sir Toby. ACT II, SCENE u Business Cues 8. Toby sees Maria entering DL arch. 9. She is overcome with laugh- ing, X to C between Toby and Fabian. 10. She imitates. 11. Maria takes both their arms and they run out UL. 12. Olivia enters DR arch, X to bench R, site. 13. Maria appears UL, waving Toby and Fabian back. Olivia sees her, cheeks herself. 1h. Paris X to C. 15. Ualvolio appears DL arch, in yellow stockings, cross- gartered. He is smiling his prettiest. Maria sinks to bench L scarcely able to contain her laughter. He X to C, frowns at her, waves her aside with his staff. She retreats to UL. Olivia looks him over in surprise. 16. He smirks his widest smile, rolls his eyes flirtatiously. Enter Maria DL arch Warn Olivia enter DR arch Enter Olivia DR arch Warn Malvolio enter DL arch Enter Malvolio DL arch Sir Toby: Fabian: Sir Toby: Maria: 811‘ Toby: Maria: Sir Toby: Olivia: Maria: Olivia: Maria: Olivia: Valvolio: 58 I have been dear to him, lad, and some two thousand strong, or so! we shall have a rare letter from him: but you'll not deliver it? Never trust me, then!‘?(8) Look where the youngest wren of nine comes! (9) If you desire the spleen, and will laugh yourselves into stitches, follow me! Our fool Malvolio is5 in yellow stockings! And cross-gartered? Most villainously.3. He does obey every point of the letter that I dropped to betray him: he does smile (10) his face into more lines than a.withered apple: you have not seen such a thing as it is! I can hardly forebear hurling things at him. I know my lady will strike him: if she do, he'll smile and take it for a great favor! 5’ Come, bring us, bring usfihere he is! (11) (12) I have sent after him: he says he'll come, How shall I feast him? what bestow of him? For youth is bought more oft than begged or borrowed. (13) I speak too loud. Where is Halvolio? he is sad and civil, And suits well for a servant with my fortunes: Where is Malvolio? He's coming, madam; but in a very strange manner. He is sure possessed, madam. Why, what's the matter? does he rave? (1h) No, madam, he does nothing but smile: your ladyship were best to have some guard about you, if he comes: for, sure, the man is tainted in his wits.3 (15) How now, Malvolio? (16) Sweet lady--ho, ho! Act II, scene h I'And some have greatness thrust upon them!" 59 r4 r4 7 n *5. :- ACT Business Cues 17. Olivia is shocked. Warn Lady II enter DL 19. he ogles her. arch l9. Yalvolio kisses hand to her. 90. We adVances closer. 21. And closer. 2?. and closer. Maria is con- vulsed. Olivia rises in alarm, starts UR. Us goes upstage of bench, as if he would cut her Off. 23. Fe pirouettes to steps US. 2h. He dances onto first star. 25. Lady II stands in arch DL. 24. Olivia X to bench L to speak to Maria, X to arch DL, exits, followed by Lady II. halvolio continues his posing on step UC. Raria exits UL to get Toby. 27. Falvolio struts to bench R, site. Enter Lady II UL arch Olivia: Yalvo1io: Olivia: Yalvolio: Olivia: Valvolio: Olivia: Malvolio: Olivia: Malvolio: Olivia: Halvolio: Olivia: Falvolio: Olivia: Lady II: Olivia: Palvolio: Smilest thou? (17) I sent for thee upon a sad occasion. Sad, lady! I could be sad: this does make some obstruction in the blood, this cross- gartering; but what of that? If it please the eye of one.3 (18) Why, how dost thou man? (19) what is the matter with thee? 3’ "Be not afraid of greatness:“ 'twas well writ! What meanest thou by that, Malvolio? "Some are born great,'-—(20) Ha! ”Some achieve greatness,“--(21) What sayest thou? “And some have greatness thrust upon them!” (22) Heaven restore thee! “Remember who commended thy yellow stockings,“-(23) Thy yellow stockings? "And wished to see thee cross-gartered." (2h) Cross-gartered!3 (25) Madam, the young gentleman of the Count Orsino's is returned: I could hardly entreat him back: he attends your ladyship's pleasure. (26) I'll come to him. Good Maria, let this fellow be looked to. Where's my cousin Toby? Let some of my people have a special care of him.3 0, ho! do you come near me now? no worse man than Sir Toby to look at me! (27) This concurs directly with the letter: she sends him on purpose, that I may appear stubborn to him; for she incites me to that in the letter. ACT II, some; n Business Cues 28. Fabian enters first, X above bench R of Halvolio. Toby follows, X to BL of Falvolio. Varia X to C. 29. Toby snickers, X to Maria at C. 30. Falvolio rises, swaggers to DC. 31. Toby cuts him off at DC.’ 32. Nalvolio is annoyed, turns and strides to DB. 33. Fabian comes down to cut him off at DR. Angrily Mal- volio turns, X to DC. 3h. Toby tugs at Malvolio's goatee. 35. He lays a hand on his shoulder. Malvolio tries to shake it off. Fabian, Toby, and Paris laugh and Jeer. Valvolio is furious. 36. Fe scatters them with his staff, and exits UL. Maria runs to platform, peering on tiptoe to see him off UL. Fabian and Toby at C, rocking with laughter. 3?. Toby sees Andrew at DR. arch. Fabian: Halvolio: ”aria: Malvolio: Sir Toby: Fabian: Sir Toby: Malvolio: Sir Toby: Maria: Malvol io: ”aria: (IQIVOI 10: 8h~Totxyg Fabian 3 51 “Cast thy humble‘fappearance ' says she; be Opposite with a kinsman, surly with servants.“ It is Jove's doing and Jove make me thankfu1!3(28) Here he is, here he is! How is it with you, sir, how is it with you, man? Go off; I discard you: let me enjoy my priVate-- 80 Off. 3 Did not I tell you? Sir Toby, my lady prays you to have cars of him. (29) Ah, ha! does she so? (30) EgPeace, peace; (31) we must deal gently with him157(32) (33) No way but gentleness; gently, gently; the friend is rough, and will not be roughly used. 5' Why how now, my fine fellow! (3h) how dost thou, chuck? Sir! 3 Ay, Biddy, come with me! (35) Get him to say his prayers, good Sir Toby, get him to pray! Ny prayers, minx? No, I warrant you, he will not hear of godliness! Go hang yourselves all! (36) You are idle, shallow things: I am not of your element: You shall know more hereafter. Is it possible? If this were played upon a stage now, I could condemn it as an improbable fiction.3 Come, we'll have him in a dark room and hound. 3 My niece is already in the belief that he's mad. (37) But see, but see! ACT II, scans u Business Cues 38. Andrew runs to C, standing between them, holding out his letter with both hands. 39. Toby snatches the letter, winks at Fabian, goes DL with it. Maria Joins them, puts an arm around Toby's neck, stands on tiptoe to follow the read- ing. Andrew stalks to R bench, stands arms folded, tight-lipped, in what he believes to be a manly pose. hO. Fabian turns to Andrew, who nods in delight. hl. Again Fabian complements Andrew, and he is increasingly pleased. #2. Toby looks up blankly, gets no help from Fabian or Maria, looks at Andrew who scowls ferociously. b3. Speaks approvingly to Andrew. uh. Whispers to Toby and fiaria. Maria giggles. h5. Sir Andrew grins and node. Does double take, scowling and pouting at Fabian. U6. Toby X to Andrew, slaps him on back. Andrew's legs buckle. #7. Andrew looks apprehensive. #8. Toby gives Andrew a push. Andrew resists it, draws his sword, shakes it uncertainly over his head, exits DR arch. Toby returns to Fabian at C. Fabian: Sir.Andrew: Fabian: Sir Andrew: Sir Toby: Fabian: Sir Toby: Fabian: Sir Toby: Fabian: Sir Toby: Fabian: 311‘ TOby: Maria: 311' Toby . 62 More matter for a ray morning. (38) Here's the challenge, read it: I warrant there's vinegar and pepper in it! Is it so saucy? Ay, is it, I warrant him: do but read! Give me. (39) "Youth,-~whatsoever thou art,-- thou art but a scurvy fellow." (no) Good, and valiant. “Wonder not, nor admire not in thy mind, why I do call thee so, for I will show thee no reason for it.“ (bl) A good note; that keeps you from the blow of the law. ”Thou comest to the lady Olivia, and in my sight she uses thee kindly: but thou liest in thy throat: that is not the matter I challenge thee for.“ (h2) (h3) Very brief, and to exceeding good sense(bu)1ess. I will waylay thee going home; where if it be thy chance to kill me,“-- Good. (“5) “thou killest me like a rogue and a villain. Fare-thee~well; and God have mercy upon one of our souls!3 Thy friend, as thou usest him, and thy sworn enemy, Andrew Aguecheek.” If this letter move him not, his legs cannot: (#6) I'll give it him. You may have very fit occasion for it: he is now in some talk with my lady, and will by and by depart. Go, Sir Andrew; scout me for him at the corner of the orchard;"so soon as ever thou seest him, draw thy sword, and as thou drawest swear horrible; for it comes to pass oft that a terrible oath, with a swaggering accent sharply twanfied off, gives a show of manhood. (“7) Away! ( 8) ACT II, scene a Business Cues #9. Fabian sees Olivia and Viola as they enter DL arch. 50. Maria skips out UR. 51. They exit DR arch. Olivia X to bench R. Viola X to C. 52. She waits for a response. Getting none, she removes a cameo from her dress and holds it out to Viola. 53. Viola turns away. Olivia rises, presses it on her. Viola holds out her hand for it. Olivia takes her hand in both of hers. Sb. She withdraws her hand from Olivia's. 55. X to BL arch, exits. Viola starts for DR arch, is met by Toby, Fabian following. Sir Andrew: Sir Toby: Fabian: Sir Toby: Olivia: 63 Nay, let me alone for swearing. Now will not I deliver his letter.3 But, sir, I will deliver his challenge by word of mouth; set upon Aguecheek a notable report of valor; and drive the gentleman, as I know his youth will surely receive it, into a most hideous opinion of his rage, skill, and fury.5'This will so fright them both that they will kill one another by the look.‘ (“9) Here he comes with your niece. (50) Give them way till he take leave, and presently after him. I will meditate the while upon some horrid mess- age for a challenge. (51) I have said too much unto a heart of stone And laid my honor-{much too boldly out: There's something in me that reproves my fault; But such a headstrong potent fault it is, what it but mocks reproof.3 (52) Here, wear this Jewel for me, 'tis my picture; (53) Refuse it not; it hath no tongue to vex you; And I beseech you-~come again to-morrow. What shall you ask of me that I'll deny?3 (5h) Nothing but this; your true love for my master. Row with my honor may I give him that Which I have given to you? I will‘rrelease you. Well, come again to~morrmw. Fare thee well.3 (55) Gentleman, God save thee! And you, sir. What_defence thou hast, betake thee to it; for thy‘5enemy is quick, skillful and deadly! You mistake, sir, I am sure; no man hath any quarrel to me.3 You'll find it otherwise, I assure: therefore "M‘s Act II, scene 4 'Ay, but he will not now be pacified: Fabian can scarce hold him yonder.“ 6h ACT II, SCENE a Business Cues 56. He looks over his shoulder at Fabian who suppresses a snicker. 57. Viola gasps and heads for DL arch. Toby pursues her, grabs her R wrist, pulls her across him, lays a hand on his sword hilt. 58. She turns first to Toby, then to Fabian, then back to Toby. 59. Toby exits DR arch. 60. Viola turns anxiously to Fabian. 61. Fabian emphasises each adjective by a step forward, his face thrust into here, backing her DLC. 62. Viola screams, exits arch DL, Fabian after her. 63. Toby shouts off, backs Andrew through arch DR, his left hand grasping the front of Andrew's doublet. 6h. Andrew sobs his terror, dashes down stairs C. Toby pursues. Andrew x on floor to R apron stairs. 65. Toby pushes Andrew up R apron stairs, his hands palms up on Andrew's posterior. 66. Fabian pushes Viola on through DL arch. Viola: Sir Toby: Viola: Sir Toby: Viola: Sir Toby: Viola: Fabian: Viala: Fabian 3 Sh. And. rev: 311‘ Toby: if you hold your life at any price, betake you to your guard; for your opposite hath in him what youth, strength, skill and wrath can furnish-man withal. (56) I pray you, sir,-what is he? He is a knight,‘;a devil in priVate brawl; souls and bodies hath he divorced three; and his~fanger at this moment is soé'intense, that satisfaction can be none but by pangs of death.’ (57) I will return again into the house.3 Back you shall not to the house, unless you undertake that with me which with as much safety you might answer him. Therefore on!3 This is as uncivil as strange. I beseech you, (58) do me this courteous office, as to know of the knight what my offence to him is; it is something of my negligence, nothing of my purpose. I will do so. Signior Fabian, stay you by my .gentleman till I return. (59) (60) Pray you, sir, do you know of this matter? I know the knight is incensed against you, even to a mortal combat; but nothing of the circumstance more. I beseech you, what manner of man is he? 3 He is, indeed, sir, the most skillful, (61) bloody and fatal opposite that you could _3 possibly have found in any part of Illyria. (6?) (63) Why, man, he's a very devilig They say he has been fencer to the Sultan! Pox on it, I'll not meddle with him! (6h) (65) Ay, but he will not now be pacified: (65) Fabian can scarce hold him yonder. as T nrwww . ACo... I-b, su§4¢—.\-.. " Easiness Cues 7 7' ‘. .. . 1 V7. 103‘ speaks to himself, 5 to C, Fabian X to C. I“ y I . ow. Viola and Andrew quote, eye each other. 59. Toby, Fabian X to Viola DL. 7C. Viola speaks to herself. 71. Viola waves sword uncertain- ly. Fabian X to support her from behind, Andrew sees Viola being pushed to him; tiptoes out DR arch. 72. Toby X to DR, grabs Andrew, pushes him forward to C. 73. Fabian pushes Viola to C. She and Andrew wave swords aim- lessly. As blades circle each other, they touch. Both scream, drOp their swords, Viola X DL to Fabian, Andrew X DR to Toby. Toby and Fabian push then C. Cautiously they retrieve swords, flee back to their seconds, who push them to C violently. They X each other, Viola to DB, where she nearly sticks Toby, Andrew to BL Where he nearly sticks Fabian. Toby pushes Viola, Fabian pushes Andrew C. They pass each other again, pause, feel into the air with their swords. In her confusion Viola wheels, with her sword accidently smacks Andrew on his posterior. He screams, runs down C stairs, his sword over his head in terror. 7h. Antonio has entered outside R door, X on floor to stairs C, meets Andrew midway.on stairs, grasps Andrew by front of doub- let. Andrew drops hissword. 75. Antonio looks at Viola. Warn entrance Antonio, outside R door. Officers DR arch. Enter Antonio outside R door. Officers DR arch. Business Contw, 76. Andrew sinks to his line 9 Be 77. Antonio puts hand on .sword hilt. 78. Andrew, on hands and knees,retreats to bench R. 79. Toby draws sword, Ant- onio draws. En guards, thrust, parry, en guards, crosse epee. Fabian X to Toby when he sees officers enter DR arch. 90. Toby X UR. 81. Second officer X to Antonio, takes his R arm. Sir Andrew: Sir Toby: Fabian: Sir Toby: Viola: Fabian: Sir Toby: Viola: Antonio: Sir Toby: Antonio: Sir Toby: Fabian: Sir Toby: First Off: Antonio: First Off: 66 Plague on itiélLet him let the matter 811p, and I'll give him my horse, grey Capilet. I' 11 make the motion. Stand here, make a good show on it.‘3(67) Marry, I'll ride your horse as well as I ride you: I have his horse to take up the quarrel: I have persuaded him the youth's a devil! (68) He is as filled with a horrible idea of him: and pants and looks pale, as if a bear were at his heels. (69) There's no remedy, sir; he will fight you for his oath's aake.’ Pray God defend me! (70) A little thing would make me tell them how much I lack of a man! (71) Give ground, if you see him furious. (72) Come, Sir Andrew, there's no remedy.3 Come on; ~-to it! I do assure you, 'tis against my will! (73) (7h) Put up your sword. If this young gentleman(35) Have done offense, I take the fault on me: If you offend him, I for him defy you. (76) You sir, why what are you? (77) One, sir, that for his love dares yet do more(78) Than you have heard him brag to you will. Nay, if you be‘fa meddler, I am for you! (79) ' 0, good Sir Toby, hold! here come the officers: : I'll be with you anon.3 (80) Antonio, I arrest thee at the suit of County Orsino: You do mistake me, sir. No, sir, no Jot: I know your‘fface too well. Take him away.5 (81) ACT II, SCLNE a Business Cues 92. Antonio turns to Viola DL. 83. Second Officer lets go Antonio's arm. Antonio X to First Officer. 8h. Second Officer X to Antonio, takes his left arm. Antonio store him with a look. First officer X to take Antonio's right arm. He looks from one to the other, then at Viola. Then he sighs angrily between his teeth, and the three exit DR arch. 85. Andrew, Toby, Fabian look at one another, and then at Viola. She X to DC after Antonio. She turns to the three. 85. Viola speaks to herself. R7. She exits DR arch. 88. Andrew draws his sword, trots after Viola. Toby and Warn Forestage curtain Fabian follow, exit DR arch. Close forestage curtain Antonio: Second Off: Antonio: Viola: Antonio: Viola: Antonio: Second Off: Antonio: First Off: .Antonio: Viola: Sir ?oby: Fabian: Sir Andrew: Sir Toby: 6? I must obey. This comes with seeking you: (82) Put there's no remedy; I shall answer it. what Will you do, now my necessity imkee me to ask you for my purse? It grieves me hush more for what I cannot do for you Than what befalls myself. You stand amazed; But be of comfort. Come, sir, away. I must entreat of you some of that money. What money, sir?3 Will you deny he now? Is it possible’ my gifts to you Can now mean nothing?3 I know of none; Nor know I you by voice or any feature.3 0 heavens themselves! Come, sir, I pray you, go. Let me speak a little. (83) This youth that you see here 3 I snatched one half out of the jaws of death- what's that to us? The time goes by. Away: (8h) Lead me on. (85) hethinks his words do from such passion fly That he believes himself. So do not I. (85) Prove true, imagination, O, prove true, That I, dear brother, be now taken for you: (87) A very dishonest, paltry boy.3 His dishonesty appears in leaving his friend here in necessity and denying him; and for his cowardshio, ask Fabian. A coward, a most‘frascally coward. ZiFaith, I'll after him again and beat him! 3 Do;--cuff him roundly, but never draw thy sword: (88) ACT II, SCEN‘ Business Cues Opening: Sebastian enters DR arch, x purposefully toward DL arch. Fests enters R door, tumbles down R stairs and up R anron stairs shouting. 1. Sebastian turns, stOps DC to see cause of commotion. Fests catches up with him DC. 2. Annoyed, Sebastian gives him a slight push, sending Fests across him to Sebastian's L. 3. He bows on the three negatives. b. He bounds backwards from him, accenting the negatives with his forefinger brought to his nose at the same time that his feet hit the floor. 5. Sebastian takes one step down onto C stairs. 6. He tosses him a silver dollar which Fests catches and pockets. 7. Andrew, Toby, Fabian enter DR arch, Andrew waves sword above head, sees Sebastian, stOps, shows Toby what he means to do. He steps behind Sebastian. 8. Andrew kicks him. 9. Sebastian seizes Andrew by front of doublet, boxes his cars. 10. Toby grabs Sebastian from behind. They wrestle. Andrew retreats to UL, Fabian X to him. 11. Feste runs out DL arch. 12. Sebastian struggles furiously. Lights at Opening: red, white, blue foots red, blue, alternate white borders photo spot-floods DC spot on R door bleacher spot Spot on R door out Business cont. 13. Andrew Jumps up and down, bawling. lb. He shakes Toby off. 15. He draws and saves his sword. Sebastian draws. Olivia enters DL. Toby sees her. 16. His sword drops to his side. Olivia glares. Cues cont. Warn Olivia enter DR arch. Enter Olivia DR arch. Scene: Clown: Sebastian: Clown: Sebastian: Sir,Andrew: Sebastian: Sir Toby: Clown: Sir Toby: Sir Andrew: Sebastian: Sir Toby: Sebastian: Sir Toby: 6 ACT II, SCENE 5 8 Before Olivia's house Master Cesario, Master Cesario! (I) Will you make me believe that I am not sent for you? (2) Go to, go to, thou are a foolish fellow: Let me be clear of thee. Hell held out, in faith! (3) No, I do not know you; nor I am not sent to you by my lady, to bid you come speak with her; nor your name is not Master Cesario; (h) nor this not my nose neither. Nothing that is so is so. I prithee. (5) vent thy folly somewhere else.3 There's money for thee; (6) if you tarry longer I shall give worse payment.3 (7 Now sir, have I met you again? (8) There's for you! (9) Why, there's for thee, and there and there! Are all the people mad? Hold, siri3 (10) This will I tell my lady straight: I would not be in some of your costs for two pence: (11) Come on sir; hold! (12) (13)} I'll have an action of battery against him, if there be any law in Illyria: though I struck him first, yet it's no matter for that. Let go thy hand. Come, sir, I will not let you go!3 Come on! I will be free from thee!3 (in) It thou darest tempt me further, draw thy sword! What, what? Nay, then I must‘have an ounce or two of this malapert blood from you!5 (15) Madam! (16) ACT II, scan; 5 Business Cues l7. Obediently Toby makes a sheepish exit DR followed by Andrew and Fabian who are ” likewise abashed. Warn forestage 18. She turns to Sebastian. He sheathes his sword. 19. She puts her hand on his arm. 20. She pulls him a step to- ward DL arch. 21. She extends her hands to him. 22. He gives her both his hands, speaking earnestly. ?3. She smiles up at him, and exits DL on his arm. Open forestage curtain curtain Olivia: Sebastian: Olivia: Sebastian: Olivia: 69 Will it be ever thus! Ungracious wretbh, Fit for the mountains and the barbarous caves, Where manners ne'er were preached! Out of my sight! (1?) (18) Be not offended, dear Cesar103 I prithee, (19) gentle friend, Let thy fair wisdom, not thy passion, away In this uncivil and unjust extent Against thy peace.‘ Go with me to my house, And hear thou there how many fruitless pranks This ruffian hath botched up, that thou thereby wayst smile at this. Thou shalt not choose but so. (20) Do not deny. Beshrew his soul for me, He started one poor heart of mine in thee! What relish is this? how runs the stream? Or I am mad, o-or else this is a dream! Let fancy still my sense in ’dreaming sleep; If it be thus to dream,--still let me sleep! Nay, come, I prithee. (21) Would thou'ldst be ruled by me! Madam,-I will! (2?) 0, say so,--and so be! (23) ACT II, SCENE 6 Business Cues Opening: Maria and Pests are entering from UR. She helps him into a curate's gown. 1. She exits UR. 2. He pats his beard in place. 3. He runs to UL, places his hands before him, the fingertips Just touching. Toby and Paris enter UR. h. Feste speaks in a deep, resonant tone. 5. Nalvolio's voice is heard faintly within the cell. 6. Varia and Toby retreat into the shadows UR. Fests answers in his clerical voice. 7. Malvolio shows his face through the bars of the window. 8. Fests goes up steps UR. Paces the platform to UC, his hands before him, the fingertips touching with every forward step. 9. He makes a deep bow directly under Valvolio's nose. 10. He paces to bench L. 11. He steps up onto the bench. Makes an elaborate gesture to the "south north”. Lights at Opening: red, blue rear border blue front border blue foots Warn Toby enter UR Toby and Maria enter UR Scene: Maria: Clown: Sir Toby: Clown: Sir Toby: Valvolio: Clown: Valvo110, Clown : 31’ Toby: Phlvolio: CIOWHI: Valvclio: C10Vn: 70 ACT II, SCENE 6 Before a prison Nay, I prithee, put on this gown and this beard; make him believe thou art Sir Tapas the curate: do it quickly. I'll call Sir Toby the whilst. (1) Well, I'll put it on, and I will dissemble myself in it; and I would I were the first that ever dissembled in such a gown. (2) The competitors enter. (3) Jove bless thee, Master Parson. (h) Bones dies, Sir Toby.3 The knave counterfeits well; a good knavc. (5) Who calls there? (6) Sir Tapas, the curate, who comes to visit Malvolio the lunatic. (7) Sir Topas, Sir TOpss, good Sir Topas, go to my lady. (8) Out,5 fierce fiend! HOw vexes thou this man! Talkest thou nothing but of ladies? Well said, Master Parson. Sir Tapas, never was man thus wronged. Good Sir Tapas, do not think I am mad: they have laid me here in hideous darkness. Fie, thou dishonest Satan! I call thee by the most modest terms; for I am one of those gentle(9) ones that will use the devil himself with courtesy. (10) Sayest thou that house is dark? As Hell, Sir Topas. (11) Why, it hath bay windows transparent as 5 barricades, and the clearstores toward the south north are as lustrous as ebony; and yet complainest thou of obstruction? ACT II, earns 6 Business Cues 12. Malvolio shows annoyance. 13. Fests X to R bench with his measured clerical pace, and climbs up onto it. 1U. He goes up UR steps. 15. We paces across platform to UL. 16. He ascends L steps and X toward Maria and Toby UR. 1?. Toby embraces him. 19. Yaria helps Feste remove the gown and beard. 19. He waves Fests toward Nalvolio, and he and Naria exit UR, Maria taking the gown and heard with her. 20. We ships to C, singing. Malvolio: Clown: Malvolio: Clown: Malvolio: Clown: Ha1"0110: Clown} Mal"£10110: 311‘ Toby: C 1mm: Malvolio: 71 (12) I am not mad, Sir Toms: I say to you, this house is dark. (13) Madman, thou‘rart in error: I say to you, there is no darkness but ignorance; in which thou art more puzzled than the Egyptians in their fog. I say this house is as dark as ignorance, though ignorance were as dark as hell; and I say there was never man thus abused. I am no more mad than you are; make the trial of it in any 5 reasonable question. (1h) What is the Opinion of Pythagoras concerning wild fowl? That the soul of our grandam might haply inhabit a bird. (15) What thinkest thou of his Opinion? I think nobly of the soul, and no way approve his Opinion. Fare thee well. (16) Remain thou still in dark- ness: thou shalt hold the opinion of Pythagoras ere I will allow of thy wits, and fear to kill a woodcock, lest thou dispossess the soul of thy grandam. Fare thee well. Sir Tapas, Sir Tapas! Hy most exquisite Sir Topas£3'(17) To him in thine own voice and bring me word how thou findest him. (15) I would I were well rid of this knavery. If he may be conveniently delivered, I would he were, for I an now so far in offence with my niece that I cannot pursue with any safety this sport to the upshot. Come by and by to my bed-chamber. (19) (20) “Hey Robin Jolly Robin, Tell me how my lady does. Hey, Robin, Jolly Robin-“ Fool! AC" II, scams 6 musiness Cues 21. Jumps to L bench. 2’. Paste runs to UR steps and onto platform under Malvolio. 23. Fe tiptoes across platform under Malvolio, but out of his sight, pauses at UL, assumes his clerical voice. Falvolio tries to see. 2h. Still in the clerical voice. 25. He tiptoes under the window to UR.and speaks in his own voice. Palvolio tries to see. 96. x to UL, uses the clerical voice. Palvolio turns to try to see. 27. X to UR, speaks in his own voice. Nalvolio turns. 29. Vs jumps to R bench. Clown: Malvolio: Clown: halvolio: Clown: Nalvolio: Clown: Nalvolio: Clown: MalvOlio: Clown: MallVelio: Clown, MaChrolio: clown: M alvolio: Clown: N} {\J (21) "My lady is unkind, perdy.” Fool! ”Alas, why is she so?" Fool, I say! “She loves another“-—Who calls, ha? Good fool, as ever thou wilt deserve well at my hand, help me to a candle, and pen, ink and paper: as I am a gentlemang I will live to be thankful to thee for it. Master Malvolio? (22) Ay, good fool. Alas, sir, how fell you besides your five wits? Fool, there was never man so notoriously abused.3 They have here prOpertied me; keep me in darkness, send ministers to me, asses, and do all they can to face me out of my wits. Advise you what you say. The minister is at hand. (23) Valvolio, Malvolio, thy wits the heavens restore! Endeavor thyself to sleep, and leave thy vain bibble babble. Sir Tapas! (2h) Maintain no words with him, good fellow. (25) who, I sir? Not I sir. God be with you, good Sir Tapas. (26) Harry, amen. (27) I will, sir, I will. Fool, fool, fool, I say! Alas, sir, be patient. (28) What say you, sir? I am~5scolded for speaking to you. Good fool, help me to some light and some paper; I tell thee, I am as well in my wits as any man in Illyria. Well-a-day that you were, sir. ACT II, scsns 6 Business Cues 29. He jumps to platform UR. Warn forestage curtain 30. Feste X platform to UL, jumps to bench L, bows on the last word of his song, runs out DL upstage of arch. Close forestage curtain Malvolio: Clown: Malvclio: Clown: 73 By this hand, I am. Good fool, some ink, paper and light; and convey that I will set down to my lady; it shall advantage thee more than ever the bearing of letter did. 3 I will help you to it. (29) I will fetch you light and paper and ink. Fool, I'll requite it in the highest degree: I prithee be gone. (30) “I am gone, air, And anon, air, 3 I'll be with you again--" ACT II, SCENE 7 Business Cues Opening: Lady II brings straight Lights at Opening: chair on through DL arch, places it DL, bows as Olivia enters and red, blue, alternate seats herself, exits DL arch. white borders. Maria enters DR arch, X to C. red, white, blue foots 1. Maria goes to DR arch, signals musicians. Lady I enters Warn forestage curtain first, followed by woodwind trio. Lady I X to C, trio groups behind her. They play and sing “Now Is the Month of haying.’I Olivia speaks at its finish. 2. Maria ushers them out DR arch. Lady II enters DL,arch. 3. She exits DL arch, Lady II bows as she passes, removes chair and exits with it DL arch, as Sebastian enters DR and X to DC. u. He fingers a ring he wears. 5. He sees Olivia who enters DL followed by the priest. She hurries to him at C, places a hand on his arm. 6. He takes both her hands in his. Scene: Maria: Olivia: Lady II: Olivia: Sebastian: Olivia: Sebastian: ACT II, scams 7 A room in Olivia's house. Madam, the musicians await your ladyship's pleasure. Good, let them enter. I'll hear if their sweet harmony be suited to my nuptial rites. (1) It pleaseth me. Maria, lead them to their stations. (2) - Madam, the good friar awaits you in your chamber. I thank thee. I'll come to him. (3) This is the air; that is the glorious sun: (a) This pearl she gave me, I do feel it and see it, And though 'tis wonder that envraps me thus, Yet 'tis not madness. Where's Antonio, then? I could not find him at the Elephant. His counsel now might do me golden service; For though my soul disputes well with my sense, That this may be some error, but no madness, Yet doth this accident and flood of fortune So far exceed a114’reason, all good sense, That I am ready to distrust mine eyes And wrangle with my reason that persuades me To any other trust but that I am mad Or else the lady's mad; yet if 'twere so, She could not sway her house, command her followers With such a smooth, discreet and stable bearing As I perceive she does° there's something in it That is deceivable. (55 But here the lady comes. Blame not this haste of mine. If you mean well, Now go with.me and with this holy man, Into the~fchapel here: there, before him, And underneath that consecrated roof, Plight me the full assurance of your faith; That my most Jealous and too doubtful soul May live at peace. He shall conceal it i'Till you are willing it shall come to note, And then we will our celebration keep According to my birth. What do you say? (6) I'll follow this good man, and go with you; And, having sworn truth, ever will be true. ACT II, SCENE 7 Business Cues 7. They exit DL arch. Open forestage curtain 75 Olivia: Then leaiiuthe way, good father; and heavens so s as That they may fairly note this act of mine! (7) ACT II, SCENE 8 Business ‘ Cues Opening: Viola and Orsino enter Lights at Opening: UL, followed by Valentine and Curio. Antonio enters DR arch, red, blue, alternate white between the officers who hold borders him by his arms. Curio and Valentine remain at UL. Viola red, white, blue foots and Orsino X to DLC. Antonio and officers X to DEC. PAR 38's L,C,R. l. X to Antonio. Bleacher spot 2. X to L0 Warn Olivia, Feste, Lady I, 3. Orsino sees Olivia at DL II, enter DL. entrance. She is followed by Feste and Lady I and II. Ladies X to Join Valentine and Curio UL. Fests X upstage to below R platform steps. b. He turns back to Antonio. Se V1018. X to Ce 6. Orsino turns to officers. 7. They X to UR. Orsino bows to Olivia, who stops DL. Enter Olivia, Fests, Lady I, II, DL. Scene: Viola: Duke: First Off: Viola: Duke: Antonio: Viola: Duke: Antonio: Duke: 76 ACT II, SCENE 8 Olivia's garden 7Here comes the man, sir, that did rescue me. That face of his I do remember well§3 Orsino, this is that Antonio That tookd'your frigate and her~5goods from JCrete; Here in the streets, desperate of shame and state, In private brabble did we apprehend him. He did me kindness, sir, drew on my side; But in conclusion put strange speech upon me. Notable pirate! (l) thou salt-water thief! What foolish boldness brought thee to their mercies, Whom thou, in terms so bloody and so"costly, Hast made thine enemies? Orsino, noble sir, Be pleased that I shake off these names you give me: Antonio never yet was thief or pirate, Though I confess, on base and ground enough, Orsino’s enemy. A witchcraft drew me hither: That most ungrateful boy there by your side, From the rude sea' 3 enraged and foamy mouth Did I redeem: a 5wreck past hape he was: His life I gave him3 and for his sake Did I expose myself, Just for his love, Into the dangers of this"hostile town; Drew to defend him when he was beset: Where being apprehended, his false cunning, Not meaning to partake with me in danger, Taught him to face me out of his acquaintance. How can this be? (2) When came he to this town? Today, my lord; and for three months before, No interim, not a minute's vacancy, Both day and night did we keep company. (3) Here comes the countess: now heaven walks on earthf(h) Fellow, thy words are madness: (5) Three months this youth hath tended upon me- But more of that anon. (6) Take him aside. (7) ACT II, SCENE 8 Business Cues 8. She sees Viola, X to her at C. 9. Olivia looks at her, then X to Orsino at DEC. 10. The Duke turns, starts to- ward DR arch. Viola X above Olivia after him. 11. Viola turns back to Olivia, speaks passionately. 12. Olivia X to DLC. 13. Viola follows her. 1h. Olivia signals to Lady II, who exits DL arch. 15. The Duke speaks impatiently from DR. Viola X to him. 16. Olivia runs after her. Warn entrance priest, ’ Lady II, DL arch 17. He gives her a threatening scowl. 18. Olivia sees priest at DL arch, runs to him, brings him back to C. She is on his L, Viola on his R. Lady II enters behind priest, X to Valentine, Curio, and Lady I. Enter priest, Lady II, DL arch. Olivia: Viola: Duke: Olivia: Viola: Olivia: Duke: Olivia: Viola: Olivia: Viola: Olivia: Duke: Olivia: Duke: Olivia: Duke: Viola: Olivia: 77 What would my lord, but that he may not have, Wherein Olivia may seem serviceable? (8) Cesario, you do not keep promise with me. Vadam? Gracious Olivia,-- What do you say, Cesario? Good my lord,-- My lord would speak; my duty hushes me. (9) If it be aught to the old tune, my lord, It is as fat and fulsome to my ear As howling after music. Still so cruel? Still so constant, lord.3 (10) !here goes Cesario? (11) After him I love . More than I love these eyes, more than my life,3 More by all mores, than e'er I shall love wife. Ay, me, detested! (12) how am I beguiled! (13) Who does beguile you? who does do you wrong? Bast thou forgot thyself? is it so long? Call forth the holy father. (1h) Come, away! (15) Whither, my lord?--(16) Cesario, ~-husband,-—stay! Husband! Ay, husband: can he that deny? Her'husband, eirrah! (l7) '. No, my lord, not I! (18) O, welcome, father! Father, I charge thee, by thy reverence, Here to unfold,3’what thou dost know Hath newly passed between this youth and me. ACT II, SCEHE 8 Business 19. He gives Viola a push to- ward Olivia. Priest retires to UR, stands watching. 20. He starts for DR arch, Viola follows. 21. Sir Andrew enters DL arch, holding bloody handkerchief to his head. 22. X to Andrew. 23. X below Viola to C. 2b. Viola follows Duke to deny it. Feste comes EC to see better. 25. Toby limps in DL arch, head and one leg thickly bandaged with handkerchiefs. Fabian helps him. 26. Feste comes DRC and Toby addresses him. 27. x to him solicitously. 28. Toby places Andrew strategic- ally before him. They X to DR arch and exit, Toby kicking Andrew on each noun, Andrew clapping his hands over his' posterior and bawling after every kick. As they pass Feste at C, he follows after, imitating both by kicking into the air and then clapping his hands to his own re 31‘. Cues Warn Andrew enter DL arch Enter Andrew DL arch Warn Toby, Fabian enter DL arch Enter Toby, Fabian DL arch Warn Sebastian enter DL arch Priest: Duke: Viola: Sir‘Andrew: Olivia: Sir Andrew: Duke: Sir Andrew: Viola: Sir Andrew: Sir Toby: Clown: Sir Toby: Sir Andrew: Sir Toby: 78 A contract of eterna bond of love, Confirmed by mutual Joining of your hands, Attested by the holy’ kiss of lips, Strengthened by the interchangement of your rings; And all the ceremony of this 5'greement Sealed in my function, by my testimony. o, thou dissembling cub! ? (19) Farewell, and take her; but direct thy feet Where thou and I henceforth may never meet' (20) My lord, I do protest--" (21) For the love of God, a surgeon! Send one presently to Sir Toby! He has broke my head across and has given Sir Toby a bloody coxcomb too!’ (22) Who has done this, Sir Andrew? The count's gentleman, one Cesario. We took him for a coward, but he' s the very devil. (23) My gentleman, Cesario? (2h) 3 'Od's lifelings, here he is! Why do you speak to me? I never hurt you: You drew your sword upon me without cause; But I bespake you fair, and hurt not. If a bloody coxcomb be a hurt, you have hurt me: I think you set nothing by a bloody coxcomb: Here comes Sir Toby halting; (25) you shall hear more: but if he had n t been in drink, he would have tickled you othe ise than he did. That's all one: he has hurt me--and there's the end on it. (26) Sat, didst see Dick surgeon, sot? 0, he's drunk, Sir Toby, an hour agone. I hate a drunken rogue! I'll help you, (2?) Will you help? (28) An ass-head! And a knave! A thin—faced knave. Then he's a rogue. Sir Toby. And a coxcomb: A gull! Act II, scene 8 '0, Viola, my dearest sister!" 79 Business 2?. She turns to Fabian who bows quickly, hurries out DR arch. 30. Sebastian enters DL arch, X to Olivia. 31. Sebastian turns as Orsino speaks, sees Antonio, X to him at DR. 32. He indicates Viola who stands C. Orsino retires to ULC. 33. He hurries to her, takes her hands in his. 3h. She indicates Olivia and Orsino. Sebastian pats her hand, looks at her fondly, X below Viola to Olivia at DL. 35. He takes her hand. The? X to platform. He seats her, stands on her R. 36. He motions her to him. 37. He holds out his hands. 38. She puts both her hands in his. 39. Halvolio enters DR arch, hatless, capeless, garters un- tied, carrying crumpled letter in his hand, X to platform ULC. Fabian, Maria, Andrew, Toby, Fests follow, tormenting him. Fests goes to UR corner of platform. Toby, Maria RC. Fabian URC. Cues Enter Sebastian DL arch Warn entrance DH arch, Malvolio, Fabian, Maria, Andrew, Toby, Feste. Enter DR arch, Malvolio, Fabian, Maria, Andrew, Toby, Fests. Olivia: Sebastian: Duke: Sebastian: Antonio: Sebastian: Antonio: Olivia: Sebastian: Viola: Sebastian: Duke: Viola: Olivia: 80 (29) Get him to bed, and let his hurt be looked to. (30) I am sorry, madam, I have hurt your kinsman; But had it been the brother of my blood, I must have done no less with wit and safety. You throw a strange regard upon me, and by that I do perceive it hath offended you: Pardon me, sweet one, even for the vows We made each other but so late ago. 3 One face, one voice, one habit, and two persons! (31) Antonio! 0, my dear Antonio! How have the hours racked and tortured me, Since I have lost thee! Sebastian are you? Fearest thou that, Antonio? How have ou made division of yourself? An apple cut in two, is not more twin Than these two creatures! (32) which is Sebastian? Most wonderful! Do I stand there?4?(33) O, Viola, my dearest sister! If nothing"orevents to make us happy both But this myd‘borrowed masculine attire, Do not embrace me till each circumstance Of place, time, fortune, do“prove indeed That I am Viola: which to confirm, I'll bring you to a captain in this town,-- Where lie my maidenJ'clothes; by whose gentle help I was preserved to serve this noble count. All the occurrence of my fortune since Hath been between this lady and this lord. (3h) 80 comes it, lady, you have been mistook:3 You are betrothed both to a maid and man.3 (35) Boy, (36) thou hast said to me a thousand times Thou never shouldst love woman like to me. (37) And all those sayings will I overbswear!%7(38) (39) How now, Malvolio? ACT II, scams 8 Business Cues no. Hands her the letter. bl. X to platform step, bows. 42. Olivia looks at Maria, who nods. Toby seizes Naria's shoulders, gives her a hearty smack. Andrew titters, slaps his knees. u3. Feste advances to halvolio. us. The comedians surround #5. He turns on them, shaking his fist in the air, X to BL arch, exits, followed by the comedians who laugh and cat-call. b6. Priest node and exits DL arch. u7. Orsino X to tOp step of platform, speaks to Olivia. #8. He calls Viola to him. D9. Musicians enter UR. Play "Sixteenth Century Galliard“. Viola places her hand on Orsino's and they lead a procession to DC, and down C stairs. On the floor they turn to L, return to stage via outside L door. Sebastian and Olivia are next, using R door. Valentine and Lady I follow, using L door. Curio and Lady II next, using R door. Antonio walks alone, using L door. Officers follow, Lights out except for using R door. At end of procession, bleacher spot musicians retire UL. Feste enters UL, X to platform, sits on steps, Close act curtain behind guitar in hands. Lishts so out Fests. except for bleacher spot. He comes down to sit on top step DC. Sings his song, ending vith sweeping bow. Malvolio: Olivia: Malvolio: Olivia: Fabian: Sir Andrew: Olivia: Clown: Sir Toby: Maria: Comedians: Halvolio: Olivia: Duke: Clown: Madam, you have done me wrong-~Notorious wrong! Have I Malvolio?- No. Lady, you have. Pray you, peruse that You must not now deny it is you hand. 82‘. lett (no) Alas, Malvolio, this is not my writing. Good madam, hear me speak,3 (bl) Most freely I confess. Myself and Toby Set this device against Malvolio here,~3 Maria writ The letter at Sir Toby's great importance; In recompense whereof he hath married her.3 (#2) Good wench! Alas, poor fool, how have they baffled thee! (h3) Why ISome are born great, some achieve great- ness, and some have greatness thrust upon them.”3 ”Madam, why laugh you at such a barren rascal?"3(hu) ”Some are born great-” “Some achieve greatness—-" ”And some have greatness thrust upon them!“ I'll be revenged on the whole pack of you! (45) He hath been most notoriously abused. Pursue him, father, and entreat him to a peace:3(46) (u7) Meantime, sweet sister, We will not part from hence. (#8) Cesario, come; For so you shall be, while you are a man; But when in other5'clothing you are seen ~- Orsino's mistress-and his fancy's queen! (#9) When that I was and a little tiny boy, With hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day. But when I came to man's estate, With hey, ho, the wind and the rain, 'Gainst knaves and thieves men shut their gate, For the rain it raineth every day. ACT II, SCENE 8 Business Cues 50. Curtain call line-up from R Warn act curtain to L: Officers, Lady I, Valentine, Antonio, Olivia, Sebastian, Viola, Orsino, Lady II, Curio, Priest, Vusicinn.. Sebastian brings Viola forward. Then they step back and make Blackout room between them for comedians to enter in R to L line—up: Open act curtain for Fabian, halvolio, Toby, Maria, Curtain call Andrew. Malvolio and Toby make room between them for Fests who Bleacher snot, foots, Joins them from DC stairs. borders Close act curtain House lights on But when I came, ales! to wive, With hey, ho, the wind and the rain, By swaggering could I never thrive, For the rain it raineth every day. A great while ago the world begun, With hey, ho, the wind and the rain, But that's all one, our play is done, And we'll strive to please you every day! (50) CHAPTER IV AN ANALXSIB OF THE PROBLEMS OF SCRIPT ADAPTATION In adapting the script of Twelfth fligh§,for high school production, those elements that would make the most acceptable production for the specific audience were considered paramount. The cultural backgrounds, the read— ing habits, the entertainment tastes, the vocabulary levels of the population of the school-community, as indicated in Chapter I, were integral audience factors which had to be considered. This production was to take place in a community where a Shakespearean play had never before been produced. The need to give the play high entertainment value was there- fore of first importance. For this reason a fast moving production was desirable. The staging had to be so planned that there was no lapse of time from scene to scene; stage movement had to be full and gay; dialogue had to have brevity and word content familiar to the ear of the audience. To aid in achieving a production that would be a pleasant introduction to Shakespeare, the following criterion of script change was set up: scenes would be rearranged or out only where such rearrangement or cutting would expedite production; dialogue would be out where such cutting would 84 give greater speed to production; dialogue would be changed where such change would make lines more readily understood by‘the audience; word changes or rearrangements should when~ ever possible preserve the meter of the passage. Thus any change had one of these seven reasons for being: 1. Complete or partial scene rearrangement for smoothness in production. 2. Addition of new material to permit time for setting up of next scene. Additions were made only twice, and consisted largely of music of the Elizabethan era. 3. Speech or speeches cut for faster movement. 5. Words or lines deleted to make speech more acceptable to a school-community audience: Obscenities, profanity, innuendo. ‘ 5. Substitution for words or word meanings no longer in common usage, or deletion or substitu- tion because of vocabulary lack of cast and audience. 6. Minor changes in sentence structure to make dialogue more intelligible to the ear of the audience. 7. Scene omission, or partial omission for speed of performance. The rearrangement of scenes may best be understood if the scheme of staging is considered. To achieve an easy flow of movement from one scene to the next, the production was played in scenes that alternated from full stage to forestage scenes. The numerous street scenes and the small interiors involving few characters and little movement were 85 selected for the forestage scenes. The interiors where freedom of movement was desirable, and the exteriors where many characters would play were selected for the full stage scenes. Thus the problem of scene rearrangement was one of alternating full stage and forestage scenes. When a fore- stage scene was playing, the full stage scene that would follow was being set, as will be noticed in the Shifting Plot, Chapter VI. The chart below will indicate how scene arrangement differed from the original. Identical scenes appear on the same line. The original texts used in the problem of adap- tation were Tucker Brooke's edition1 and George Lyman Kittredge's edition.2 Adaptation Original 1,1 The Duke's Palace 1,1 The Duke's Palace 1,2 The Seacoast 1,2 The Seacoast 1,3 A room in Olivia's House 1,3 Olivia's House I, The Duke's Palace I,h The Duke's Palace 1,5 Olivia's Garden 1,5 Olivia's House 1,6 A Street 11,1 The Seacoast ' 11,2 A Street 1,? A wine Cellar 11,3 Olivia's House 1 Brooks, Tucker, John William Cunliffe, and Henry Noble MacCracken, editors, Shakespeare's Principal Plays (New York: The Century Company, 192h7' 3 Kittredge, George Lyman, TwelfthN JWIIIISE Shakespeare (New York: Ginn and Company, “1551 It as 11,1 Before the Duke's Palace 11,“ The Duke‘s Palace 11,2 Another part of Olivia's 11,5 Olivia's Orchard Garden 111,1 Olivia's Orchard 11,3 Another Street 111,3 A Street 111,2 Olivia's House 11,h Olivia's Garden 111,h Olivia's Orchard 11,5 Before Olivia's House 1V,l Before Olivia's House 11,6 Before a Prison 1V,2 Olivia's House 11,7 A Room in Olivia's House 1V,3 Olivia's Orchard 11,8 Olivia's Garden V,l Before Olivia's House The first five scenes did not differ from the original. The next two scenes were combined into one. The only scene completely omitted was Act 111, scene 1. Act 11, scene 5, was followed by Act 111, scene 3, and Act 111, scenes 2 and h, were combined into one scene. In the adaptation, the first scene of the play was full stage, a forestage scene following. The scenes alternated in that pattern throughout the production. This scheme followed, basically, the Elizabethan pattern, with no time wasted for scene changes, since setups could be made behind the forestage curtain while action was going forward on the forestage. The floor plan of the basic set will indicate how this was done. An example of'partial scene rearrangement may be found at the beginning of the adaptation. Since Act 11, scene a, of the original, became a short forestage scene (Act 11, scene 1, Before the Duke's Palace) in the adaptation, Feste's song, 92g; Aggy, gggth, was used to cpen the play. New material was twice added to permit time for setting up the next scene. Act 1, scene 6, of the adaptation 9.7 played only four minutes, an insufficient time for striking the garden scene and setting up the wine cellar scene. This forestage scene was lengthened by the entrance of four revel~ ere, immediately following Viola'e exit. Their singing and dancing provided the stage crew with needed time and in addition set the mood for the wine cellar scene which follow- ed. ”It was a Lover and his Lass“ was the song used. The other instance when new material was added was found in Act 11, scene 7, of the adaptation. Act IV, scene 3, of the original played three and a half minutes. The addition of a few lines and a song lenthsned the scene, thus giving the crew sufficient time to strike the prison scene and set the garden scene. The lines which were added were prose, and served only to introduce the song. The song was a madrigal of the Elizabethan period. It is included, with the wood~ wind trio accompaniment which was used for it, in the musical score section of Chapter VI. hany speeches were cut for faster movement. Lines were not out unless the following four questions could be answered in the negative: Does the speech contain necessary exposition? Does it contribute essentially to plot deveIOp- ment? Does it contribute essentially to character develop- ment? Does it contain laugh lines so readily understood that their humor should not be sacrificed? Or, conversely, does the humor so basically hinge on Elizabethan word-play that the ”9 modern audience finds nothing humorous in the line? For instance, Maria and Pests cpen Act I, scene 5, with an exchange of witticisms on the word "colour“. Cutting of these lines was Justified on the basis of negative answers to the first four questions above, and more important, an affirmative answer to the fifth question. Feste's first two long speeches to Olivia which follow early in this same scene were similarly out. Wherever such meaningless word-play slowed action, it was cut. Many cuts for faster movement were made in Act II, scene 2, of the adaptation. Deleting lines of Sir Toby, Sir Andrew, and Fabian as they watched Malvclic read the letter, provided a chance for much pantomime. In the adaptation Maria remained on the stage at this point to add to the fun. It was necessary, then to out the lines in which she was greeted upon her return to the scene. In this same scene a number of Malvolio's lines were out, putting the emphasis on attitude and movement, rather than line. Words or lines were deleted to make speeches more acceptable to a school-community audience. The Grand Ledge High School dramatic department had been advised by the administration that obscenitics, profanity and innuendo were not acceptable on its stage. The department was in agreement with the administration on this policy, recogniz- ing that characterization may break down when Obscenities, profanity or innuendo are used, since the momentary shock of their use immediately associates them in the mind of the audience with the student, and not the character he is playing. For this reason a number of Sir Toby's, Maria's, Sir Andrew's, and Feste’e lines were cut. Examples of such cuts will be found in Act I, scene 3, of the adaptation, as, 'By my troth, I would not undertake her in this company,“ or ”...and I hope to see a housewife take thee between her legs...” or "I would not so much as make water but in a sink-a-pace.“ Substitution for words or word meanings no longer in common usage, or deletion or substitution because of the audience's and actors' vocabulary lacks were frequent. The following are examples of suchthanges: "My brother, he is in Elysium,“ was changed to “My brother, he is in Heaven.‘ Feste's "I am shent for speaking to you,“ became I'I am scolded for speaking to you.“ Furness' A,figg,Vgriorum Edition.g; Shggespeare was consulted in making changes of this sort.3 Many deletions were made with regret. Certain- ly to the trained ear, one of the delights of Shakespeare is to catch words no longer in common usage, the connotations of shun add much to the Elizabethan flavor of the production. -? Furness, Howard Horace, editor, A New Variorum Edition 0 Shakes e rs, 101nm m1, Twelfth 3151137 ”9.: ”What 3035 I‘w 1 Philadelphia: J. B. Lippincott Company, 1901 90 The writer had constantly to remember that the untrained ear wearies of that which it cannot understand, and that many lines, although flavorsome, would have to go. Hamlet's counsel that the censure cf the Judicious must overweigh a theaterful of others had to be viewed in the light of what the writer knew of the school-community. Almost totally inexperienced with Shakespeare as cast and audience were, the need for making an understandable, and therefore accept- able, script was of first importance. Sir Toby's reaction to Sir Andrew's dance, Act I, scene 3, has the following unfamiliar words and phrases in it: “like Mistress Hall's picture“, 'galliard', ‘coranto', "sinkra-pace”, “under the star“. The student actor could have learned these, time permitting, and perhaps with appropriate gesture could have given the audience a general idea of the meaning of the passage. Yet since this production aimed to introduce the school-community to the enjoyment of Shakespeare, all efforts were made to make this first acquaintance an easy and pleasant one. An example of word meaning no longer in common use is found in the next scene, Act I, scene a. The duke advises Viola, “Therefore, good youth, address thy gait unto her.” The writer knew the word “gait" would be a mental hurdle, because of eenfusion with the word 'gate' in both its . 1 9i normal and slang meanings. This line became in the adapta- tion simply, "Therefore, good youth, address thyself unto her.“ Minor changes in sentence structure to make dialogue more intelligible to the ear of the audience were occasion- ally made. An example of such a change is Viola's line, ”What else may hap, to time I will commit,“ which became “What happens else, to time I will commit.” Orsino‘s lines which close Act I, scene 1, presented problems both in vocabulary and sentence structure: 0, she that hath a heart of that fine frame To pay this debt of love but to a brother, How will she love when the rich golden shaft Hath killed the flock of all affections else That live in her; when liver, brain, and heart, These sovereign thrones, are all supplied and fill'd, Her sweet perfections, with one self king: The double appositive was omitted, and the lines became: 0, she that hath a heart of such devotion To pay this debt of love but to a brother, How will she love, when Cupid‘s golden dart Hath killed the flock of all affections else That live in her; when she has given her heart To me, and all her sweet perfections mine: The writer was pleased that the adaptation produced a script with vocabulary suitable for the cast. That this was true was evident when the students found the script understandable at the first reading rehearsal. No further changes were needed, and occasional changes which occurred in rehearsal were accidental. Scene omission for speed of performance occurred once. Partial omission was used twice. Act III, scene 1, was completely omitted, since it did not contribute to the plot, and since similar exchanges between Olivia and Viola took place in a later scene. One partial scene omission was the shortening of the scene which is Act II, scene 1, in the adaptation. This scene followed the pattern of brevity which had been established for all forestage scenes to avoid holding the eye of the audience on a plain drape background for a long period. The other partial scene omission was the Opening of the last scene of the play, an omission which, although it cut some of Feste's comedy lines, hastened the denouement. Every script change fell into one of the seven classifications listed and described here, and all are designated in red ink in the script, Chapter III, by their apprOpriate number as listed on the second page of this chapter. CHAPTER V AN ANALYSIS OF THE DIRECTING PROBLEMS The rehearsal limitations in the direction of Twelfth ‘flight at Grand Ledge High School were these: the stage was not usable immediately after school because of daily basket ball practice in the gymnasium; the stage was not usable on wednesday and Friday evenings because of basket ball practice and games; three cast members were involved in band rehearsals every Wednesday evening; some of the cast were unavailable on Thursday nights because of the school policy of releasing students to church choir rehearsals; some cast members lived at great distance from the school; some cast members worked at after-school Jobs until six o'clock. The full cast, then, was available for rehearsals on Monday and Tuesday evenings only. The stage was in use by community groups on a number of Monday and Tuesday evenings; the large rehearsal room in the music building was then used. A total of seventeen full cast rehearsals were held on the stage. At the latter end or the schedule, a wednesday re- hearsal was arranged, two Thursday rehearsals were made possible by pro-arrangement with church choir directors, a -Friday rehearsal was made possible by reserving the gymnasium two months in adVance. 9“ An elevenoweek rehearsal schedule was set up, with full cast rehearsals every Monday and Tuesday evenings, spot rehearsals on Wednesday evenings for non-band members and on Thursday evenings for actors who had no church choir responsibility, and line and spot rehearsals during the third and sixth periods of the school days. Since a number of cast members had study periods during the third or sixth periods of the school day, it was possible for them to leave the study hall for scheduled spot or line rehearsals. Actors were not permitted to leave classes for such rehearsals. If they were to report for rehearsals from their study halls, the director provided a study hall pass which the study hall teacher turned in at the principal's office. The director was permitted to use her conference period, the sixth hour of the day, for either spot rehearsals or stage craft. She could frequently use the third period for small group rehearu sale or stage craft since that was the hour‘when her class in dramatic sets met. Since five students in this class were members of the cast, it was possible to work lines with them, while the remaining members of class, under the superb vision of a student teacher,*worked on the technical aspects of the production. A cepy of the rehearsal schedule which was placed in players' prompt books and mailed to parents is found at the end of this chapter. 95 Since the rehearsal period covered a total of eleven weeks, a rather slow pace was set at the beginning. The first evening meeting began with a cast dinner at the director's home, followed by a reading of the play. The director emphasized the fun of the play, and pointed out the prestige the cast would enjoy in this first Shakespearean production. Reading was begun by the director, with the students asking to read their parts as they caught the spirit of the play. The evening closed on a note of confidence. During the remainder of the first week and all of the second week reading rehearsals continued with small groups. At these rehearsals the director worked very carefullwaith.the student actors on vocal interpretation and characterization. She did not urge memorizing until the vocal interpretation was consistent. When the stage was available, blocking was done with small groups in the first and second weeks during the third and sixth periods. The first complete blocking rehearsal for.Act I was held on Monday evening of the third week. Entrances and stage areas were chalked on the stage floor to aid inexperienced cast members. A temporary platform was placed, and substitute furniture was used. The stage manager and his assistant were responsible for shifting furniture for each scene. They had prepared a large chart‘which showed all stage settings. This they used until they had learned the 96 setups. Before the rehearsal began, all actors were called to the stage. Experienced actors were directed to go in and out exits, to take crosses, to use the furniture. After the inexperienced actors had been given this chance to watch, they, too, were directed in movements about the stage until. all unfamiliar terms had been learned. The director had discovered that this learning method, plus an accurate prompt book in the actors' hands assured a smooth blocking rehearsal. The blocking of Act I was reviewed again on the following evening, and learned in the spot rehearsals which were held during the third and sixth study periods of that week. Meanwhile reading rehearsals of Act II had been taking place in third and sixth hours, and some scenes of Act II had been blocked in those hours when the stage was available. The entire cast was called for a blocking rehearsal of Act II on Monday evening of the fourth week. This block- ing was reviewed the following evening and learned in spot rehearsals the rest of the week. Business for Act I was set in spot rehearsals. On the fifth Monday night the blocking of both acts was again reviewed. A complete run-through of the production was done the following night. The comedy scenes 3 and 7 of Act I were rehearsed on wednesday night. On Thursday night of the fifth week a complete run—through was done for 97 members of the Dramatics staff of Michigan State College. During the sixth week business was set for Act II and reviewed for the comedy scenes of Act I. On Monday evening of the seventh week blocking and business in the last scene of the play was polished. 0n the following evening practice costumes borrowed from the Grand Rapids Civic Players were worn for the first time. These costumes were incomplete but usefulr since they gave the boys many rehearsals in tights, and the girls experience with long dresses. Shoes were not worn on stage from this rehearsal until dress rehearsal. Each student kept a pair of heavy dark sex in his locker to put on over his tights for rehearsals until the final dress rehearsal when shoes which had been made by the costume committee were worn. For this first costume rehearsal the entire evening was spent in instructions on movement. The cast walked about on the gymnasium floor learning to time movement to speech. Bowing, sitting, and rising were practiced. Following the practice on the gymnasium floor each actor was directed about on the stage, giving some of his speeches where much movement was desired. Spot rehearsals of scenes in both acts continued during the third and sixth periods of the remainder of the seventh week. Technical rehearsals of both acts were begun on 98 Monday and Tuesday evenings of the eighth week. Since the stage was not available, substitute furniture was used in a cleared area of the large rehearsal room in the music building. The cast now began to function as stage crew. The lack of space in the wings of the stage had made necessary the decision to dispense with a stage crew separate from the cast. The only backstage crew other than actors were the stage manager, the preperty girl. and a boy on the forestage curtain. Since actors were used to shift scenes, very careful plans had to be worked out. If an actor‘was playing forestage on a given scene, he obviously could not be used to set up the next scene. For these first technical rehearsals each actor‘was given a copy of the shifting plot which appears at the end of this chapter. Each actor mark- ed his name wherever it occurred. In these first technical rehearsals he was permitted to keep this shifting plot with him to consult it during scene changes. Spot rehearsals for polishing scenes in both.acts were held during the third and sixth hours of the remainder of the eighth week. On Monday evening of the ninth week a technical rehearsal was called for six-thirty o’clock. No copies of shifting plot were permitted, since scene setups had to be learned as perfectly as lines. The director called scene changes and the cast rehearsed them until they were able 99 to do them without undue backstage confusion. Now the furniture which would be used in production was on the stage for rehearsals, and the cast learned exactly where to place each piece both on and off the stage. On Tuesday evening of the ninth week Mr. John Jennings of Michigan State College served as critic for a complete run-through, with cast, of course, serving as stage crew as they would for performances. Lights were handled, except for those which would be borrowed at a later date. Musical effects were complete except for the woodwind trio. In the next two days the last scene was worked in rehearsals third and sixth hours. Another long technical rehearsal was called for Friday evening of the ninth week, and again scene shifts were rehearsed. At this point the cast began to function as an integrated crew. The complete co-Operation of every individual essential to any stage production had been achieved. The technical aspects of the production were now running easily and a smooth rehearsal of the entire play was thus possible in this last rehearsal of the ninth week. Four evening rehearsals were held in the tenth week. By this time lines were BO‘VEll in hand that third and sixth hour spot rehearsals were canceled for the balance of the :_ rehearsal period. The evening rehearsals were polighing rehearsals accomplishing growth in characterizationlwhich inn had been somewhat at a standstill in the eighth and ninth weeks when technical problems were of major concern. The woodwind trio was called for rehearsal in these evenings. They had, of course, rehearsed previously numerous times with the singers. The only spot rehearsals now necessary involved the singers and the trio. The full cast was dis- missed early on two evenings while a dancing instructor polished the performance or the revelers in the dance she had taught earlier. The week or production began with a complete run- through on Monday evening. Tuesday evening was given over to fitting costumes. Wednesday evening was dress rehearsal. The costume committee had worked all day to get costumes in complete readiness. Hand properties had, or course, been in use for many rehearsals. Every preparation had been made for a dress rehearsal that would be a performance complete in every detail except the presence of an audience. The director had invited a few discriminating students to see the rehearsal. One of then served as messenger to take 'written messages either to actors who needed greater vocal projection or to the stage manager or his assistant when the director discovered defects that could be remedied as the rehearsal progressed. The dress rehearsal thus was one free from harrossment for both director and cast. The director took notes which she quietly discussed with the cast at the 101 end of the rehearsal. As the director talked the costume chairman, the stage manager, and assistant stage manager listed those things that were their responsibility. The smoothness of the rehearsal, followed by this quiet dis- cussion, gave the cast a feeling of confidence. The first performance was a matinee on Thursday for high school students of the surrounding area. Actor! were excused from their classes at 11:00 to be served an early lunch in the cafeteria. They reported for makeup at ll:h5. The performance began at 1:15. Evening performances were the following Friday and Saturday nights. Makeup began at six-thirty o'clock. Costume and property chairmen and stage manager and assis- tant reported at the same hour. How the problems of blocking, interpretation of roles, and deveIOpment of character were dealt with in the eleven week rehearsal schedule described above should now be reported. The problems of blocking were relevant to the limitations of the stage, as described in Chapter I. The plan of playing alternate full stage and forestage ecenes set a pattern for the general blocking for the play, and gave a basis for detailed blocking from scene to scene and within the scenes. 102 The director blocked the plgmron Donor with the use of floor plans which had been drawn up. The floor plans which are found in Chapter VI together with the floor plan of the stage which is found on page 166 of Chapter VI show the following general acting areas: Act I, scene 1, An Apartment in the Duke's palace: steps and platform up left; Feste'e bench, down left; Orsino's chair, right; Curio's bench, center; Valen- tine's entrance, down left. Act I, scene 2, A seacoast: entrance from outside door, right; the right apron stairs; the center forestage; the forestage arch exit, left. Act I, scene 3, A room in Olivia's house: steps and platform, up right; bench, down right; table and chair, down left; serving table, up center. Act I, scene 4, A room in the Duke's palace: the Duke's chair down right; entrances right and left through forestage arches; the center forestage. Act I, scene 5, Olivia's garden: the platform and steps, up center; Olivia's chair on platform, up center; benches, down right and left; entrances down right and left, and up right and left. Act I, scene 6, A street: the outside right door; right apron stairs; entrances and exits through forestage arches, right and left. Act I scene 7, A wine cellar in Olivia's house: the platform and steps up left; Feste's bench and a table right; large table and two chairs, left. Act II, scene 1, Before the Duke's palace: entrance outside right door; the right apron stairs; the center forestage; the center stairs; exits before act curtain, right and left. Act II, scene 2, Another part of Olivia’s garden: platform, up center; steps, right and left on platform; chair, up center; benches, left and right; hedges, up left and right; entrances, up left and right, down left and right through forestage arches; right apron stairs. 103 Act II, scene 3, Another street: entrances through forestage arch, right; exits through forestage arches, right and left; the center forestage. Act II, scene h, Olivia's garden: the same as Act I, scene 5, and the center stairs and right apron stairs. Act II, scene 5, Before Olivia's house: the outside right door; the right apron stairs; the center stairs; entrances through the forestage arches right and left; the forestage. Act II, scene 6, Before a prison: platform and steps up center, the steps at right and left on platform; benches, right and left; entrance and exit, up right; exit, down left. Act II, scene 7, A room in Olivia's house: Olivia's chair, down left; entrances and exits through fore- stage arches, right and left; the forestage. Act II, scene 8, Olivia's garden: the same as Act I, scene 5, and the center stairs. The main objectives in blocking were these: full, uninhibited movement; long crosses, much use of the platform to provide a second level, and in the garden scenes to set Olivia apart from the others; use of acting areas outside the proscenium arch to give variety and scope to movement; entrances and exits timed for speed between scenes. A few examples of each of these objectives follow. Other examples will be found in Chapter II in the left-hand pages of the script, under business. Uninhibited movement was blocked for scene 3 of Act I. When the scene cpened Toby was seated down right. Maria entered on the platform up right, stood center with hands on hips regarding Toby, took a quick cross to him, removed 10h the drinking mug from his grasp, crossed quickly to serving table up center. He pursued her, and soon had disengaged the mug from her hands to leap upon the chair down left, raising the cup on his line, “I'll drink to her as long as there is passage in my throat and drink in Illyria.“ Sir Andrew’s entrance on the platform up right was elaborate, and the three played the whole stage as Sir Toby egged him on to flirtation with Maria. On the exit, with Sir Toby brandishing his whip at Sir Andrew's ankles, they circled the entire center stage, hurdling the bench, and leaped out the platform up right. Long crosses were frequently used. Minor charac- ters, as well as major characters, were given plenty of movement. In Act I, scene 1, Valentine made a long cross from his entrance down left to the Duke's chair at right. Crosses for both major and minor characters who played forestage scenes were frequently from one arch entrance to the other, giving them a full stage cross, whenever the action, plot, or dialogue indicated that the actor was progressing frmm one location to another. For example, Viola's action of leaving Olivia's home, being halted by Malvolio with the ring, and then continuing on her way, presumably back to the Duke's palace, was shown by her full cross from the down left arch to the down right arch. The platform served as an entrance or exit in the 105 full stage interiors, and as a spot where attention could focus on Olivia in the garden scenes. In Act I, scene 5, it pointed up her sedate removal from the disorderly conduct of her'kinsman Toby, and emphasized her position as reign- ing beauty when Viola made her entrance. At the end of the play Sebastian Joined her on the platform, as he took his rightful place as lord of her life. Sir Toby, Maria, and Pests occasionally used this garden platform area.when Olivia was not on the scene, indicating that they were an impish trio who respected authority only when they had to. The acting areas outside the proscenium arch were the outside right door, the right apron stairs and the center stairs. The first two were used for entrances such as Viola's first entrance with the sea captain and seamen, or the first entrance of Sebastian and Antonio, or the comic entrance of Fests as he scrambled after Sebastian in Act II, scene 5. The center stairs provided an area for playing Act I, scene 2, with Viola sitting on the top step, Orsino standing above her, as she gave her lines, "My father had a daughter loved a man, as it might be, perhaps, were I a woman, I should your lordship." Another example of use of this area was Sir Andrew's bawling flight down them as he tried to avoid dueling with Viola. Again this area.was used in the next scene as Antonio entered from the outside right door and dashed up the center stairs to intercede in the duel. 106 Blocking was planned so that movement from one scene to the next was continuous. A forestare scene began as the curtain closed on the preceding full stage scene. An example of this was found at the beginning of Act I, scene 2. As the Duke and his retinue took their exit up right at the end of scene 1, the forestage curtain was closing, and the sea cap- tain, with Viola in his arms, was already ascending the stairs from the outside right door. A full stage scene began immedi- ately as the actors took their exit from the forestage scene while the forestage curtain was Opening. For example, as Viola spoke her line, 'I thank thee; lead me on“, she, the captain, and the seamen were taking their exit down left. At the same time the forestage curtain was Opening to disclose Toby seated on the bench down right, drinking deeply from his mug. The physical limitations of the stage were a factor in planning blocking. Lack of adequate off stage space had to be always considered. The stage floor plan which is found on page 1? in Chapter I indicates the limited off stage space. The stacking and shifting plot found on page 168 in Chapter VI indicates how much of the off stage space was needed for storage of furniture. A large table, a small- er table, two chairs, and a hedge took up so much room off stage left that little remained for actors when they were not on stage. The boys' athletic office which adjoins the stage off right was a convenient place for actors to stay 107 who were awaiting entrances right. However, since the director wished to use the left entrances as frequently as right entrances, she had to find a way to provide additional off stage room at the left for actors. Conse- quently the tap of the grand piano case was cleared of the scenery flats which.were normally stored there. These were temporarily stored in the loft above the boys' athletic office. A set of get-away steps was securely fastened to the piano case. Thus an actor who had made an exit down left and who would not re-enter directly could, by using these stairs, reach the top of the piano case where he ‘could sit until his next entrance. In the event that blocking called for him to enter up left, he could cross the tap of the piano case, get down it from one of the tables or chairs stored there, arriving at a point back stage where he could make his up left entrance behind the tableau curtain. The lack of a back stage cross-over influenced block— ing plans. Because of the stage depth of only eighteen feet, the back cycloramic curtain was hung directly at the back stage wall. The resulting gain of an additional foot and a half was more desirable than the retention of that footage for a cross-over. In all cases but one, it was practical to have actors re-enter on the side of the stage where they had taken their exit. In Act I, scene 2, it was desirable that Viola exit left and re-enter right in Act I, scene h. 108 Since the full stage scene, Act I, scene 3, came between these two forestage scenes she had more than enough time to go through the hall, off stage right, go down to the shower rooms and up through the athletic storeroom and office to take her entrance at stage right. Actors, could, of course, get from one side of the stage to the other when a forestage scene was playing, by crossing well back of the forestage curtain. The problem of actors getting cues while waiting in the boys' athletic office was easily solved by installing a microphone behind the first border curtain and feeding it into the sound system of a Bell and Howell movie projector which was placed on the loft. The speaker was removed from the projector and hung in the athletic office. This sound system was absolutely essential to the successful blocking of the show, since an actor‘who stood at the outside right door, waiting for his one to make an entrance there, could neither see nor hear what was taking place on stage. Interpretation of roles began with the reading re- hearsals. After the play had been read through, the cast and director discussed the spirit in which it would be played. In subsequent rehearsals, then, the cast worked constantly for a mood of lightness and gaiety. This mood was set early in the rehearsal schedule by the two ex- 109 perienced actors who played Sir Toby and Sir Andrew. By working Act I, scene 3, with them and the girl who played Naria, the director was able to demonstrate to the rest of the cast the abandon and sheer nonsense with which she wished most of the play to be acted. The general inter- pretation was planned to fit William Hazlitt's description of the play: One of the most delightful of Shakespeare's comedies. Of a pastoral and poetical cast. Folly is indigenous to the soil and shoots out with native, happy, un~ checked luxuriance. Absurdity has every encoufagement afforded it and nonsense has room to flourish. The introductory and supplementary records to the Mercury Text Records were useful. In the prologue Shakespeare and Richard Burbage converse about the play which Shakespeare is writing as a diversion from Hamlet. Burbage urges him to get on with Hamlet and disparages the new play: Burbage: Orsino, Viola, Antonio, who are these peeple and who cares for them? Bah! Fools out of an Italian farce. Shakespeare: No. English fools, Dickie, like you and me ... Titled fools, and tipsy fools, and fools in love. Our English people ... the sailor, the serving-man, the squire, the suitor, our own idle knighthood, the priest, the amorous gentleman, the noble lady and her strutting steward... Burbagez The vain steward! I know that play. The Deceivers they call it in Italian and the steward is Valevolti! 1 Hazlitt, William, The Complete Works of Willim Hazlitt, Vol. 3, Characters of Shakes care s Fla 8 (London: 3. M. Dent and Sons, Ltd. ,1930 p. 31“ 110 Shakespeare: I call him Malvolio and I make him a Puritan and he's English ... Oh, most English, Dickie! There are hundreds of him alive in London tonight, sniffing through their long, thin English noses at English players and poets like you and me. Oh, Dickie, beware Halvolio! Oh, England, beware Malvolio, and laugh at him, as I do. I laugh at him because I fear him, Dickie. Look! I've put him into a comedy and I've set all England against him to gull and endure him and finally for his presumption to cast him back into his own darkgess ... into a madman's cell where he belongs. This prologue served to interest the actors in the Elizabethan scene. Harchette Chute's Shakespeare.gg_Londog was useful in giving the cast an appreciation of the Elizabethan popu— larity of ”dukes and comic servingbmen and examples of crossowooing'.3 The student-actor in high school does not have un~ limited time for research that might be helpful to his characterization. The director did, however, request that the comedians read J. B. Priestley's comment on Twelfth Egght, in 2h; English 39m Characters: The girls who played 2 Welles, Orson, and Roger Hill, The .ercur Shakes ears, Twelfth Night (New York: Harper and Brothers, 1939 , pp. 3,? 3 Chute, Harchette, Shakes care 2£_London (New York: E. P. Dutton and Company, 19595, p. 213 h Priestley, J. 8., The En lish Comi Characters (London: John Lane, The Bodley Head, 1937 , pp. hj- 9 111 Viola and Olivia.found help in Thguflgggg,ig,Shakespgare's m; and Characteristics g; m.6 As rehearsals progressed the director discussed with the cast the very neat construction of the play. An understanding of the interweaving of the plot and sub-plot, and interplay of characters clarified interpretation of roles. Individual problems of interpretation and character- ization were dealt with in conferences with the student alone, or in small groups. The director made frequent use of her sixth hour conference period to work withflactors‘who needed help. This type of help was given in the first nine weeks of the rehearsal period. The director’who is able to work .; individually with cast members helps them to grow in their roles, gives them the confidence they need in full cast re- hearsals, and saves an infinite amount of time which can otherwise be so easily wasted on individual coaching during a full rehearsal. The director's ever~present problem of making teen- agers convincing in mature roles was partially solved by pulling down the entire age scale. Viola can well be one of the younger of Shakespeare's heroines, perhaps no more fl 5 Mackenzie, Agnes Furs, The Women‘;_ Shakes eare'sP Plays (London: William Heinemann Ltd., l§2r pp. 152-573 6 Jameson, Hrs., Character tic of Women (Boston: Roughton Mifflin and Companys, pp. 181-187 112 than eighteen. The Duke and Olivia, then, may be thought of as being in their early twenties, rank, rather than years, giving them dignity. Sir Toby was placed in his early fifties, with Sir Andrew a foolish thirty. Malvolio was though of as a stuffy ”oldster“ at forty—five. Maria, Rests, and Fabian were under twenty. The individual problems of interpretation and char» acterization were, as often with high school actors, problems of personality. Shyness, lack of concentration, poverty of experience background, vocabulary lack, and the peculiar teen-age inhibitions of “conformity" in voice, action, and attitude are characteristics which the high school director knows well. Influence of the peer group is so strong in the teens that the average youngster hesitates to do anything that will call attention to himself. When the director can get across the idea that indifferent acting does exactly that, she is on heeray to implanting a desire for learning tech- niques that will make an actor of a high school student. The wise director casts a few nonuconformiste, individualists, or exhibitionists. These students, who have usually previously earned the respect of the student body, are a stimulus to the more timid cast members. How the difficulties of individual interpretation of roles were overcome in this production may best be described by considering the prOblems of each actor. 113 Fests was played by an ineXperienced actor. How- ever, his ability to take hold of his part was most grati- fying. He constantly sought ways to improve his interprec tation. At the beginning, his vocabulary lack was noticeable, yet once he comprehended such a passage as the one in Which he refers to Pythagoras in the prison scene, he was able to interpret with a fair degree of intelligence. When he under» stood the place of the court Jester in Elizabethan society, he saw himself as a light-hearted fellow, living by his wits and talents. The blocking had been planned to give him much movement; permitting him to bounce about in uninhibited crosses added to the frolicsome nature of his characterization. His initial difficulty was one of movement. As soon as he removed his shoes during rehearsals he began to move more easily. The director gave him a little rhythmic pattern he could incorporate into much of his movement. It consisted of a quick, shortostepped little run on the balls of the feet, ending with a bounce that threw the weight evenly on the balls of both feet, the knees slightly bent, and the arms spread cpen, palms up. This gesture had to be keyed to the line, as in the opening of Act 11, scene 5. Sebastian entered the forestage from the arch down right, crossing purposefully toward the arch down left. Fests entered from the outside right door, and, catching sight of Sebastian, tumbled down 11h the stairs and up the right apron stairs calling "Master Cesaric! Master Cesario!“ As Sebastian turned to see the cause of the commotion, Fests approached him on the run with the line "Will you make believe that I am not sent for you?I The bounce and the spread arm gesture came quite naturally on the word "sent”. Two speeches farther on in the same scene Fests was given another rhythmic pattern for the line ”... nor this is not my nose neither.“ Backing away from Sebastian in short Jumps that kept his weight evenly on the balls of both feet, he brought his finger to his nose at the same time that his feet hit the floor on the words ”this“, “not“, I'noee", and the first syllable of ”neither“. The director found that when actors were given specific examples of places where they could tine gesture with line, they began to find other spots where they could use a similar timing. An example of blocking that permitted Fests free movement is found in the prison scene. The prison unit was placed up center on the platforms: the steps were placed at the extreme right and left on the fronts of the platforms. The benches were so placed that a single jump down from one of the steps brough Fests to a point where a single leap got him on top of one of the benches. Then he could Jump to the platform again, tiptoe across it, almost under halvolio's nose, and plague the prisoner from the other steps or beach. At the end of the scene he made a diagonal running cross 115 from the steps up right to the bench down left, ending in a mocking bow standing on the bench, using the second syllable of the word ”again" to punctuate his bow on the sung line ”I am gone, sir, and anon, sir, I'll be with you again.“ Fests had no great problems of facial expression. As soon as movement was unhampered the actor's rather mobile features were in constant animation. The only spot at which he required help in facial expression was in Act I, scene 5, where he needed to be blank-faced on Malvolio'e line “Look you now, he's out of his guard already." When the actor understood that, having made his point with Olivia and being back in her graces again, he could afford to relax, he fell quite easily into a sitting position on the steps, knees spread, elbows on knees, hands dangling loosely from wrists, feet crossed, Jaw dropped, mouth cpen. Duke Orsino needed much help in vocal interpretation, since some of the most poetic passages were his. The actor's musical training had given him a quick car so that he was soon able to use suggestions which the director made. Working for resonance and full vowel sounds was rewarding in the degree of maturity it brought to the actor's too-light voice. The direc- tor'worked alone with.him on the three long poetic passages of the first scene. When his attention was called to what he could do vocally with the 0's in the speech that begins “If 116 music be the food of love...“ he began to see that with his own voice he could give the listener a glimpse of the depth of feeling for music which he truly has. That it was no more than a glimpse, the director attributed to the student's immaturity, and her own inability to find ways to help him to achieve the completeness of character deve10pment which was needed. The next speech came smoothly when he again worked for roundness of tone in the 0's; when he placed a stress on the word Olivia, necessary since this is the first time she is named; and when he intensified final consonants. The actor's good vocabulary helped him: words like.“purged“, “pestilence“, and “hart” gave him no trouble. He readily saw that since he was of the nobility his speech ought to be more careful than his normal diction. At the beginning the director corrected little errors like careless final consonants and mispronunciations such as 'crocl' for ”cruel". The director showed the actor how to use his good breath control on the poetic passages to keep them smooth. For instance, he was shown that in some places if the breath is held over to the next line, despite a comma, or if only a short catch breath is used for the ending comma, the read— ing of the whole passage may be sustained. In the passage which follows, he was instructed to use such breathing on the commas after “feeding on it,” and “like the sweet sound,'. 117 If music be the food of love, play on; Give me excess of it, that, feeding on it, The appetite may sicken, and so die. That strain again! it had a dying fall; 0, it came o'er my car like the sweet sound, That breathes upon a bank of violets, Stealing and giving odor! Orsinc‘s gesture and walk were at first inhibited, but became more free-flowing as he was able to see himself as the idle nobleman, in love with love. Having him seated as the play cpened set the languid mood of the scene and helped the actor in his characterization of idleness. The large arms of the chair and a footstool aided the actor in striking a pose for the Opening. Keeping his walk and ges- ture rather deliberate added dignity and maturity. His walk was a swinging stride, the steps rather long, with the toe of the rear foot remaining on the floor as the weight was ad- vanced to the ball of the foreward foot. His gestures were broad, the arm swinging out from the shoulder to its full length. Such a gesture was used to command a subordinate as in his lines “Away before me to sweet beds of flowers; love thoughts lie rdch.when canopied with bowers.‘ The actor here was directed to make a sweeping gesture with his left arm, palm up, toward the up left exit which they would take. In these lines the director asked for bodily movement to follow through on the second line with the weight well back on the right foot, the right hand, palm up, coming up to chest height on the word "sweet“, as he contemplated the beauty of 118 the place where he would lie. At this point Curio and Valentine were pointing up his line by an exchange of glances, shrugs, and inward groans. Orsino understood his characterization better when the director asked him to sketch his past. He liked his role better when he saw that normally deer hunting was a favorite pastime, one to which he had frequently devoted all his energy, to the delight of his courtiers; he understood his role better'when he saw that now he was devoting himself as completely to langucroue cone templation of his unrequited love, to the veiled displeasure or his following. .Another~example where the director showed the actor how to follow free gesture bodily was the line to Viola, “Get thee to yonder cruel Olivia." Here the actor was directed to make his body follow arm gesture. In this perti- cular line, as the left arm went out in.full gesture, palm up, on the word ”cruel“, the whole body followed, with the weight shifting to the left foot, and the right hand, palm up, coming up to chest.height. The director found that when the actor was given exact direction for a few specific ges— tures and lines, he found use for similar gestures with other lines. . Valentine and Curio were boys quite similar in their characteristics. Both had the ungraceful gait cf the average teen~agerg both.were prone to mumble their lines. Neither of these bad habits was completely overcome. The director 119 encouraged them to make preper use of their very good voices; the wearing of tights early in the rehearsal period overcame selfaccnscicusness and enabled each of them to de- velcp a fine strut. Their part in the revelers' song in Act I, scene 6, which involved mild flirtaticns with Olivia's ladies in waiting, helped them to interpret roles of gay, young indolent hangers-on in the Duke's court. Probably these characters were more poorly developed than many others in the cast, the result of a lack of seriousness on the part of the actors, combined with the director's failure to take as much time with them as was needed. The girl who played the part of Viola had perhaps greater problems of interpretation and characterization than any other member of the cast. Her self-consciousness greatly inhibited projection of personality. Although this need for projection was partly supplied by the self-confidence she gained in the rehearsal period, enough of the student's uncertainty remained so that as complete a Viola as wished for never quite came through. A secondary problem was the lack of experience in affairs of the heart. The director believed that the student's superior intelligence, her complete cc-cperation, her sensitive nature, and her imagi- nation would in time produce a satisfactory characterisation of the role. In this the director was not altogether dis- appointed. The student and director'worked together for a 120 number of hours in the first weeks of rehearsal. The student was painstaking in her determination to understand every shade of meaning in the script. She learned to use her pleasing voice effectively. She listened to the Mer- cury Text Records,7 taking a few ideas from the interpretation of character which she found there, but discarding most of it because she thought it too brittle. Gradually the inter- pretation of an intelligent, independent, and lovely young girl began to emerge. She was, however, playing the part much too seriously. The director pointed out the many evidences of Viola's sense of humor, the ability to laugh at herself even when she was most hepelessly in love. The tender regard she felt for Sebastian was easy for the stu- dent, since Sebastian was played by her own brother with whom she enjoys a very fine brotherbsister relationship. The relationship With Orsino was difficult. The student was one of these intelligent and lovely - but dateless - girls who find little companionship with the Opposite sex during their high school years, perhaps because of the comparative immaturity of boys their own age. For the interpretation of a girl head-over-heels in love with a man who loved another, she had to call upon all the forces 7 Orson Welles, Mercu Text Records, Twelfth Night, Columbia Masterworks Set 5:7 121 of her imagination, and these, it must he admitted, were insufficient to the task. The director has learned that . although the actor may feel an emotion, to a limited de- gree, through a proper mental concept of his role, his inhibitions will not let him implement it. With Viola the director had to give very definite directions on ges- ture, particularly in the two scenes with Orsino. The director worked with the actors alone on these scenes, saving both time and embarrassment, and giving the actors confidence for full cast rehearsals. The student who played the part of Orsino was helpful. He did nothing to embarrass the girl and co-Operated with her in taking directions. Their first scene together, Act I, scene a, was made easier for both of them by giving'him a chair with a footstool for her. Although this was a fereetage scene, the problem of getting furniture on was easily solved. Action began with Viola making a purposeful cross from the arch down left to- wards the arch down right. She was met down center by a servant (one of the musicians) who carried a small Jeweled dagger on a little pillow, presenting it to her with the words: ”Master Cesario, from my lord, the Duke.‘I Hean~ while Valentine had entered down right, summoned two other servants (the other two musicians) to place the Duke's chair and footetool down right. When Orsino entered down left he took a full cross to his chair, seated himself and called 122 for Cesario. She advanced to him, and he dismissed the others from his immediate presence with the line ”Stand you awhile aloof.” He urged her to take his suit to Olivia. 0n the line "Say I do speak.with her, my lord, what then?” Viola took a step toward his chair, getting close enough so that he could take her right hand with his left and seat her on the footstool on his line ”0, then unfold the passion of my love ...” When he was directed to keep her hand in his on the arm of the chair they were brought in closer, so that her face could be turned to his on his speech. Doubting her effectiveness as a messenger with the line "I think not so, my lord,“ she averted her face from his with a little smile, withdrawing her>hand from his in the same movement. On his next lines “Dear lad, believe it; for they shall yet belie thy happy years that say thou art a man ...“ he was direct~ ed to place his left hand affectionately on her right shoulder, and as the line continued with 'a baby's lip is not more smooth and rubious ...“ to place his right hand under her chin pulling her face closer to his. At that point the only direction asked of her was that she lean into him slightly. This little scene had been made to look charm- ing and graceful by the director's giving rather specific instructions to Viola on her seated posture. Since the footstool was low, she could sink to it with her right foot 123 on the floor, the right knee sharply bent. The left knee then could be almost on the floor, the left foot but behind her. As she leaned toward the Duke she moved her‘whole body in a forward inclination, her right foot giving her balance. The director'has found that when a scene such as this is rehearsed over and over privately until gestures come easily, the actors have no reticence about it when they do it for the first time at a full rehearsal. The other actors recognize a smooth, easy performance, and there are no disturbing titters. The director recognised that her solution to the problems of these two actors was a very mechanical one. A pretty picture was achieved, even though depth of feeling on the part of the actors was lacking. Viola’s other scene‘with Orsino, Act II, scene i, came easily enough after the one described above had been worked out. Directing Viola to seat herself on the tap step of the center stairs with the line “Ay, but I know ...“ gave her an easy posture for'her story of the heartbroken sister. From this position she could turn sidewise to look up to Orsino, or out to the audience as she described her own love pangs. Rather serious underplaying resulted from this blocking of the scene, destroying the effectiveness of some of Viola's most famous lines. The director Justified this underplaying 'because she felt that the student's awkwardness with the 12s emotion would have been more apparent had she been on her feet. The sea captain needed little help in interpretation. He was an experienced actor who moved well on the stage. When he and the director established his as a vigorous man in his fifties he soon found a characterization that indicat- ed strength of character and virility. The director asked him to read his lines at a slower pace than he had used in his last role. Since his voice was well-developed and he projected well, the slower pace was all that was needed to give him a fair degree of maturity vocally. As soon as he realized that his lines carried important exposition he was careful to point them. The same actor played the priest, a holy, slow-moving grey-beard. Here he decreased rate of speaking even more, and introduced a slight quaver. The boys who played the seamen doubled as officers. Virility is a quality high school boys assume most eagerly; these characterizations were therefore easy. The boy who played the part of Sir Toby needed help in characterization. He was an experienced actor whom the director knew very well. His complex personality required a firm hand from the director. The combination of high intelligence, exhibitionism, conceit, extroversion, extreme gregariousness, and a prankish sense of humor produced an individual who was both exasperating and rewarding to the 125 director. The teacher of such a student needs his total trust; he must respect the director's intelligence, imagina~ tion, and authority. The director has found that genuine mutual respect, which is the best basis for any pupil-teacher relationship, is especially necessary with students like this one. This complex personality had in the past produced a most variable characterization, which finally resolved into one that was all of one piece. Waiting for characterization to develop in this fashion took experimentation on the part of the student and much patience and guidance from the direc~ tor. J. B. Priestley's commentary was helpful.8 The student at length saw himself as the indolent and seedy nobleman who whiled away his time extracting in full measure the joy of living, disporting himself in the companionship of other fun- loving characters who were not quite so intelligent as himself. Specifically the director helped the student develop a deep laugh, guided him in the degree of drunkenness with which he was to act, and showed him how to move in the scenes which required bodily contact with other actors. An example of a line where a hearty laugh was needed followed Maria's departure in Act 1, scene 3. As Maria stood on the steps she slapped Sir Andrew on the cheek. At this Priestley, 92. 35., pp. h3-69 126 point Sir Toby was seated down left watching with amusement. As she took her exit he broke into uproarious laughter at Sir Andrew's discomfiture. The laugh came easily enough when the director asked the actor to sit well forward on his chair, his knees apart, his feet firmly planted. Then with correct diaphragm action the laugh could seem to come from his very toes. The director and student agreed that the peak of hilarious drunkenness should be achieved in the wine cellar scans. Therefore, although he had a mug in his hand in Act 1, scene 3, he obviously was not at all drunk. Since his appearance in Act 1, scene 5, was brief it was decided that he could be quite inebriated here without detraction from the later wine cellar scene. He therefore preceded his entrance with a monstrous hiccough, bowed elaborately at the entrance to Malvolio, who was Just leaving; then sobered by the latter's disapproving glare, he wheeled about in a turn which sent him reeling across the stage to be brought ‘up short by Olivia's line, “By mine honor, half drunk!" Then seeing Fests, and greeting him in a wideuarmed gesture, he fell flat on his face rising on one elbow on his line ”I defy lecheryi' Fests helped him to his feet, and, with his aid, he took a staggering exit. Through the wine cellar scene the director asked Sir 127 Toby to play hilariously drunk, letting Sir Andrew become dead drunk, establishing the idea that Sir Toby could hold his liquor the better. Boisterous drunkenness was shown by the actor vigorously keeping time to the music with his mug,rising to swing‘haria around in greeting, and frolicking about Malvolio with the clown Fests. In contrast to Toby's hilarity, Sir Andrew‘s action throughout the first of this scene was a tittering self-conscious imitation of Toby's antics, which.was followed by a period of sodden self-pity after Maria's exit, ending in slumber on the table and floor. Scenes involving bodily contact or conflict of two or more characters are always a problem with high school actors. The students' tendency is to want to play the scene without rehearsed movement. It then loses artistry, and becomes, to the eye of the observer, mere teen-age horse- play. All the scenes involving bodily contact were very carefully rehearsed, with all movement planned. Such pains- taking rehearsal both maintains a pleasing stage picture and minimizes danger of injury. At the beginning of rehearsals the actor who played Sir Toby was too vigorous in his treat- ment of Sir Andrew. when the director made it plain that Sir.Andrew needed to have his movements under his own control at all times, the two actors were able to coordinate move~ ments for an artistic effect. An example of such movements 128 was found in the dueling scene of Act II, scene h. Sir. Toby and Sir.Andrew entered from down left, Sir Toby push» ing Sir Andrew. The director instructed Sir Toby to permit Sir.Andrew to lean back onto Sir Toby's hands. Then Sir Andrew advanced his own feet in reluctant, awkward steps with knees bending high. At the point where Sir Andrew and Viola were finally pushed together, both Sir Toby and Fabian were directed to give only a little push; then, with Viola and Sir Andrew having control of their own movements, they could shoot forward as if the push had been tremendous, but they could check themselves as they met at center, avoiding injury. The director had no great problem in helping Sir Toby assume age. The actor*had played the doddering, vanillating King Arthur in A Connecticut Yankee. Sir Toby was thought of as a much more vigorous man, his movements sprightly in spite of his age and obesity. The actor‘was directed to acquire the wide-spread stance, the spread-kneed sitting posture, and the straight-backed, straight-knead _rolling gait of obesity. He‘had to be helped to a mental concept of his seedinees: his financial dependence on his niece, his greed-inspired solicitude for Sir.Andrew, his lack of fastidiousness with his drinking mug. The costume helped a great deal, his beautifully plumed hat seeming to be a symbol of past glories in contrast to the present untidy 129 lacing of his doublet over his sagging'waistline. Vocally the role presented no great problems since the actor had one of the more mature voices of the cast. Maria had trouble with her characterization in the first weeks of rehearsal. She was catching the spirit of mischief and fun in her movement, but she continued to con- vey the impression of being dainty and lady-like. Develop- ing a coarse laugh, and using postures and gestures that were broad and earthy, gave a characterization of a scheming, lusty, and gay wench. The laugh was delivered from a wide stance, on a deep breath with plenty of diaphragm action, using the syllable “ho” rather than "ha”. Hands on hips with feet wide apart was a useful posture. Familiarity with the Opposite sex was shown in physical contact with other characters, as Sir Toby's arms about‘her as he tries to extricate his drinking mug in Act I, scene 3, the hand holding and slapping of Sir Andrew in the same scene, the little push of reprimand she gave Fests in Act I, scene 5, and of course all of the greeting, lap and table sitting, and affectionate farewell of the wine cellar scene. The student who played Sir Andrew developed his characterization very readily. He played him as a simple- minded, vain little fop of a man, of enormous cowardice, but too weakpwilled to resist Sir Toby's blandishments. The actor‘was able to deveIOp a-wide range of pitch, squeak- 130 ing in terror when he found himself in a bad situation, or shouting with bravado to solicit the approbation of Sir Toby. The student, who had a great deal of imagination, had a thoroughly good time with this role. In Act I, scene 3, he tittered in nervous delight with his forwardnees with Maria, sunk to a dolorous lower pitch on “Methinks sometimes I have no more wit than an ordinary man has,“ rose to a cheerful note on "I'll stay a month longer,“ and was back to his high pitch of selfbdelight on I'l‘aith, I can cut a caper.‘ He deveIOped a fine bleating squeak for lines like "Fox on it, I'll not meddle with him,” drawing the ”him” out in a thin wail. that lasted throughout his frantic attempted escape down the center stairs. After Sir Toby's and Antonio's fracas when he was convinced his opponent was but a paltry boy, he attempted a despothroated roar on “Faith, I'll after him again and beat him!“ Olivia was played by a perfectionist. She was not satisfied until every inflection and gesture seemed right to her. Her excellent concentration was a help to other members of the cast during rehearsals. Her careful and delicate diction, dainty gestures, and winsome smile helped her characterize a lovely, gracious lady who tried to govern with decorum a most unruly household. As the rehearsals progressed she developed the idea that in spite of her back» 131 ground she was tossing discretion aside as carelessly as might a girl of more common substance in pursuit of the youth withmwhom she believed herself to be in love. The student played the role with a light touch, perceiving that Olivia‘s passion of love was perhaps no more deep than the aura of mourning with.which she attempted to surround herself in the early scenes. The student who played Malvolio had to overcome a tendency to underplay the role. This was a personality problem stemming from the student's native dignity. It was several weeks before he realized that dignity, if excessive, can be very funny. When he lost his inhibitions, becoming a caricature of dignity and conceit he arrived at a characterization that was well correlated with that of the other actors in the inter-action of his comedy and that of the other comedians. As soon as he had rid himself of inhibited movement, his voice, too, became uninhibited. The most helpful technique to his characterisation was a proper walk. This was attained with the whole body completely in character: the chest and shoulders were high; the head was slightly turned towards one shoulder with the chin held high enough so that he seemed always to be looking down his nose; the eyebrows were frequently raised in disdain; the stride was fairly long with an upward swing to each side from the ball of the foot as it struck the floor on each step. The stance 132 was an exaggerated “dancing master” pose. The use of a slender black staff was a help in walk and posture. It was placed tip down on the floor with each advancing step, and then swung out to the side from the perpendicular, with the hand that held it moving out in full sweep to the side of the body. walk and gesture were intensified when he appeared.yellow— stockinged and cross-gartered. Fabian understood quite readily that his characteri- sation needed the light touch of prankishness. Mobile facial expression and free gesture contribut ed to this characteriza- tion. His larger problem was one of line interpretation. A vocabulary lack and a ratherlslow memory made his mental con- cept of lines somewhat vague. Individual assistance with the vocabulary and concentrated memory work helped solve this problem, enabling him to go on to the happier task of charac— terization. The problem of slow memory may be dealt with by a number of different approaches. If the student is a good reader he may find that concentrated silent re~reading, then oral reading, then oral reading with someone to cue him will be useful techniques. More often than not he will be a below-average reader. The director has found the auditory approach better in such cases. When the student has time at home the director may solicit help from someone at his home. In this particular case the director knew the 133 memorizing had to be done entirely at school. The student had home responsibilities which needed all his at-home hours. Since the student was a member of the dramatic arts class it was possible for the director to work with him in that hour or to assign another student to work with him. His own lines were read to him while he followed the script, until he himself could read them readily. After several days of reading, the script was put aside. Then the director or the student who worked with him went over and over trouble- some spots, patiently prompting until the lines could come to him without assistance. With this student of slow memory, the assistant usually needed to give the entire cue. Since his helpers could give him an uninterrupted hour daily, the scenes in which he played were always read in entirety. The ladies in waiting to Olivia were characterized much.like Orsino's attendants. Although they deferred to Olivia's eXpectation of decorum, they were not above snickering at Sir'Toby‘behind her back. They were graceful in movement, flirtatious in their scene as revelers. Since Sebastian's appearances were few and his lines short, he needed to intensify his characterization if he were to convey any impact of personality. An intelligent interpretation showed a sensitive, adventurous, romantic youth. Buildpup of character was done in his impetuous 13h challenge of SiruAndrew and Sir Toby, his wholeuhearted re» ception of Olivia's overtures, his tender greeting of Viola. The boy who played Antonio characterized the Shake- spearean ideal of man~to~man devotion. He played him as a vigorous man of fifty. The characterization was physically convincing since the actor'had a short stocky figure built out into barrel-chested proportions with padding. His heavy, mature voice aided interpretation. He characterized an open- handed, rugged man of the sea who felt great bitterness when he believed his young friend had denied him. Thus each actor solved or partially solved his in~ dividual problems of interpretation and characterization through many hours of work by himself, with the help of small groups of other actors, and in full cast rehearsals. As has been indicated, business was almost completely set by the ninth.week. In the tenth week actors made increas- ed growth in characterization through intensification, develop~ ment of mannerisms, reaction to other actors, and mental con- cept of the play as a whole. Two evenings spent in the cos~ tumes which had been rented for the show helped actors feel comfortable in their clothes. That character growth in the last week was definitely at its peak was evidenced in the fact that, when actors were in costume, they behaved in character both on and off the scene. They strutted, pranced, bounced, or glided as became their particular role; they 135 addressed each other with Elizabethan salutations. A few of them thought of small additions to characterization which they might make. When they checked these with.the director she was able to approve their consistency with the role. Although the rehearsal period had been from three to four weeks longer than had before been customary, both cast and director felt the time had been well spent in the added maturity which actors brought to their roles. Date Act- Pages Scene Mon. :78“. 7 Entlfl play Tues. 1-5 15-23 II- 58 1-6 26 1-4 12-1“ II-l 37‘38 1-3 7-11 Wed. 3831.9 I“? 28‘36 1-6 23-27 II~3 h7~48 Thurs. I-? 28-36 REHEARSAL SCHEDULE First Week Characters Entire cast Maria, Fests, Olivia, Halvolio, Fabian Viola, Olivia Viola, Olivia Viola, Malvolio Orsino, Viola Orsino, Viola Toby,Maria,Andrew Feste,Maria,Nal- volio Sebastian,Antonio 8ebastian,Antonio Maria,Malvolio, Fabian Toby, Andrew, Fests, Malvolio, Fabian, Maria Toby Hour 6:15- 9:30 7:15- 9:30 136 Place director's home stage conference room director's home stage conference room stage stage director's home Von. Jan.lh 1-5 15-?3 Tues. I-h lZ-lh II-l 37—38 1-5 15-23 Jan.15 I-7 28-36 Wed. Jan.16 1-7 28-36 Second Week Naria,Feste,Olivia, Malvolio,Fabian Orsino, Viola Orsino, Viola Maria,Feste,Olivia, Malvolio,Toby,Viola Naria,Feste,Toby, Andrew,Ma1volio Maria,Feste,Toby, Andrew,valvolio 137 stage conference room director's home stage stage I! on. Jan.21 Tues. Jan.22 Wed. Jan.23 Thura e Jan.2h Fri. Jan.25 I-B 7-11 I-h 12-1: II-l 37-3 I-6 26 1-5 19-27 II-h 58 Block I II-h h9-6h II-h b9—6h Block I II-6 68-73 1-2 h-é I-7 28-36 II—6 68—73 1-2 h—6 Third week Toby,flaria,Andrew 3 Orsino, Viola Orsino, Viola Nalvolio, Viola Viola, Olivia Viola, Olivia Entire cast 7 9 15- 30 O. 0'. Toby,Fabian,Andrew, 3 Maria,Olivia,Malvolio Viola,Antonio, 6 Sebastian,officere Entire cast 7:15- 9:30 Peste,Maria,Toby 3 Halvolio Viola,Captain,seamen 6 Toby,Andrsw Feste, 3 Maria,Nalvoiio Viola 6 Feste,Maria,Toby, 3 Malvolio Viola,Captain,seamen 6 138 stage conference room stage stage conference room stage stage conference room stage conference room stage conference room Von. Jan.28 Block Tues. Jan.29 Block Wed. II-l I~h I-6 II~3 Thurs. Jane 31 II“2 Fri. Feb.1 II-Z II II 28-36 37.38 12~1h 2h~27 h7-h8 39*“6 39¢h6 Fourth Week Entire cast Entire cast Toby,Andrew Feste, Maria,Halvoiio Orsino,Viola Orsino,Viola Sebastian,Antonio Sebastian,Antonio Toby,Andrew,Fabian, Maria,halvolio Toby,Andrew, Fabian, Haria,fialvolio 139 stage stage stage conference room stage stage Mono Feb.u Tues. Feb. 5 Wed. Feb.6 Thurs. Feb.7 Fri. Feb.8 Run-through Runuthrough 1-3 7*12 I-7 28-36 1-6 2h-27 I-7 28-36 Run-through- for members of M. S. C. Drama Dept. II-h h9-6# 11-5 65-67 mu was Fifth Week Entire cast Entire cast Toby ,Andrew, Maria Foby,Andrew,Maria, Feste,Malvolio Antonio,8ebastian, Viola,Ma1volio Toby ,Andrew Maria , Feete,Nalvoiio Entire cast Toby,Fabian,Andrew, Maria,01ivia,Halvolio Fabian,Andrew,Maria, U 3 6 OliVia,Ma1volio,Viola, Antonio,officers 1uo stage stage stage conference room stage stage stage conference room Mon. Feb.ll Tues. Feb.12 Wed. Feb.13 Thurs. Feb.lh Fri. Feb.15 3:2 II-S 11-6 II-8 II-7 II-6 II-8 1'3 II-6 II-B II-8 II-B h7-ue u9~64 65-67 68-7 76-8 7u-75 68‘? 76-8 7-11 32:33 75-8u 28-36 76~8b Sixth Week 7:15- 9:30 Antonio,Toby,Fabian, Andrew,Maria,Olivia, Malvolio,Viola,Feste, Sebastian Fests,Maria,Toby,Nal— 3 volio,011via,Andrew, Fabian Sebastian,Olivia, 6 Priest Feste,yaria,Toby,Nal- 3 volio,Olivia,Andrew, Fabian Viola Toby,Maria,Andrew 7:15- 9:30 Feste,Maria,Toby, 3 Malvolio,OliVia,Andrew, Fabian Orsino,Viola,officers, 6 Antonio,011via,Feete, Andrew,Fabian,Sebastian, Malvolio,Maria Toby,Andrew,Feste, 3 Faria,Malvolio Orsino,Viola,officers, 6 Antonio,01ivia,Feste, Andrew,Fabian,Sebastian, Malvolio,Marie 1&1 music building stage conference room stage conference room stage stage stage stage stage Mon. Feb.18 Tues. Feb.19 Wed. POb.20 Thurs. Feb.21 Fri. Feb.22 II-S 76-8h Costume re- heareal 1-5 1-5 II-2 IIbh II-S II-h II-7 I-6 II~3 15-23 15-73 39-b6 u9-6u 65-67 h9-6h 7h-75 2h-27 h7-h8 Seventh Week Entire cast Entire east Naria,Feste,Olivia, 1adies,Na1volio, Toby Maria,Feste,Olivia, 1adies,Falvolio, Toby Toby,Fabian,Andrew, Maria,Na1volio Andrew,Maria OliVia, Malvolio,Vio a Antonio,offieers, Sebastian Toby,Fabian,Andrew, Maria,01ivia, Malvolio Sebastian,011via, Priest,Antonio 1&2 music building stage stage stage stage stage stage stage Non. Feb.25 Technical I Tues. Feb.26 Technical II Wed. Feb.27 1-3 7-11 Thurs. Peb.28 II-B 76-su II-8 76-8h Eighth Week Entire cast 7:15- 9:30 Entire cast 7:15» 9:30 Toby,Maria, 7:15- Andrew 9:30 Olivia,1adies,Feste, 3 Andrew,Toby,Fabian, Malvolio,varia Viola officers, 6 Antonio,011via,ladies, Feste,Priest,Andrew, Fabian,8ebastian,Mal- volio,Maria,Orsino 1&3 music building music building music building stage stage Mon. Mar.3 Tues. Mar.4 Wed. Mar.5 Thurs. Mar.6 Fri. II-8 76~8h II—B 76-8u Entire play technical II-u n9-6u II-S 65-67 II~5 65~67 Entire play for members of M.B.C. Drama Dept. II-s 76-8h 11-8 76-84 II-B 76-8u II-s 76-8u Mar.7 Entire play Ninth Week Olivia,1adies,Feste, 3 Andrew,Toby,Fabian, Malvolio,Maria Viola,orficers,Antonio, 6 Olivia,1adies,Feste, Priest,Andrew,Fabian, Sebastian,Malvolio,Maria, Orsino Entire cast 6:30- 9:30 Toby,Fabian,Andrev, 3 Maria,01ivia Olivia,Feste,Sebastian, 6 Toby Entire cast 6:30- 9:30 Olivia,ladies,Feste, 3 Andrew Toby,Fabian, Malvolio,Maria Orsino,Viola,officers, 6 Andrew,Olivia,ladies, Feste,Priest Fabian, Sebastian,Maivolio,Maria Olivia,1adies,Feste, 3 Andrew,Toby,Fabian, Malvolic,Maria Orsino,Viola,ofrieers, 6 Andrew,01ivia,ladiee, Feste,Priest Fabian, Sebastian,Maivolio,Maria Entire cast 6:30- 10:30 stage stage 8t880 stage stage stage stage stage stage stage stage lbh 1h5 Tenth Week Mon. var.10 To be announced Keen hours free. 3 and 6 stage Entire play. Entire cast. 6:30- 7:30 stage Tues. Mar.ll To be announced Keen hours free. 3 and 6 stage Entire play. . Entire cast. 6:30- 7:30 stage Wed. Har.12 To be announced. Keep hours free. 3 and 6 stage Thurs. Mar.13 To be announced. Keep hours free. 3 and 6 stage Entire play. Entire cast. 6:30- 9:30 stage Von. Var.17 Tues. ‘~”'ede Flap. 19 Thurs. Mar.20 Fri. Mar.21 Sat. Mar.22 Eleventh Week To be announced. Entire play. To be announced. Fit costumes. Dress rehearsal. Keep hours free. Entire cast. Veep hours free. Entire cast. Entire cast. Matinee performance Evening performance Evening performance 3 and 6 3 and 6 1&6 stage 7:30- 9:30 stage stage 7:30- 9:30 stage 6:30- 9:30 stage 8:15 8:15 Von. Var.17 Tues. Har.18 ‘1' e d e Far.19 Thurs. Mar.20 Fri. Mar.21 Sat. ”51‘. 22 Eleventh Week To be announced. Keep hours free. ~Entire play. Entire cast. To be announced. Veep hours free. Fit costumes. Entire cast. Dress rehearsal. Entire cast. Matinee performance Evening performance Evening performance 146 3 and 6 stage 7:30- 9:30 stage 3 and 6 stage 7:30- 9:30 stage 6:30- stage 9130 1:15- 43:00 8:15 8:15 CHAPTER VI AN ANALYSIS OF THE PRODUCTION PROBLEFS I SCEHE DESIGN The problem of scene design was to provide suitable and attractive forestage and full stage acting areas. This was accomplished through the construction of a false pro- scenium, rearrangement of and addition to the existing cycloramic curtain, and the use of two movable platforms and two sets of stairs. The false proscenium consisted of a wide center arch with smaller arches on either side. The larger center arch Opening was twenty-seven feet wide and eleven feet high. The smaller arch Openings on either side were three feet wide and seven feet high. To construct this false proscenium as easily and cheaply as possible, two exiting flats, five by eleven feet, were extended to a height of fourteen feet. New muslin was used to cover the additional three feet on each. Arches were cut and fitted with six inch thickness of masonite. The only new scene construction was a piece which formed the tap of the wide center arch. Since this was hung on rapes from across in the ceiling and then lash- ed to the flats that formed the smaller arches, it was 1h8 desirable that it be of light construction. Two inch by five-eighths inch spruce was used. The piece was twenty- seven feet long, three feet at its narrowest width, curving to six feet at its ends. It was covered with new muslin and fitted with a thickness of six-inch wide masonite. After it had been hung and lashed to the side arch flats, thicknesses were fitted to the latter, to continue the large center arch. The outside edges of the arch flats were set at angles of thirty degrees to the line of the center arch; Two three-foot wide flats were extended to fourteen feet in height, and lashed to the outside edges of the arch flats parallel to the curtain line. A coat of‘ bright pink scene paint was applied, then completely spattered with light pink, blue, lavender, cream, and rose. The effect under lights was a soft pint. The back section of the tan cycloramic curtain, with the traverse on which it was hung, was moved to a location directly behind the false proscenium. Screws were placed in the stage ceiling for its new location. To take its place at the rear of the set, a black velour curtain was borrowed from the display department of a Lansing industry, and hung on a new rod of inch pipe suspended by wires from the ceiling with the screws which had held the traverse. Two widths of the side sections of the tan 1&9 cycloramic curtain were removed from their battens and hung on short lengths of inch pipe on a line parallel with the forestage curtain. These curtain sections in this arrange- ment effected a more suitable backing for the side arches. The remainder of the tan cycloramic curtain stayed in its accustomed place on the side battens. Additional curtains, hung on line with the front edge of the movable platforms, added variety. They were hung up right and left on an empty batten. These curtains were made of old pieces of a worn-out cycloramic curtain. They were laundered in the home economics department, dyed black commercially, and resewn into two curtains each six- teen feet wide. These curtains, rigged by ceiling pulleys, could be pulled into tableau drape, left hanging straight, or taken completely out. The shifting plot found on page 168 of this chapter indicates the arrangement of these curtains for each scene. The movable platforms were two feet high, three feet wide and five feet long. The two sets of matching steps were two steps high, as long as the platforms were wide, and six- teen inches high. They were used with the platforms in five different arrangements as will be seen in the floor plans on page 167 of this chapter. Each platform was fitted with a bar at one end to hold awning poles, and each had screw eyes for ordinary screen door hooks which held a railing upright 150 on the platforms in the wine cellar scene. Platforms and steps were painted maroon. Furniture was keyed to the scene in style and color. Two shower benches borrowed from the athletic department were painted maroon. The furniture which was borrowed from the Grand Rapids Civic Players had been used in their production of 1:113 Taming 9; the. 33.!!! and was therefore correct in style and detail for Twelfth‘flight. It had been painted maroon with scroll and lion head.designs in gold and black. It need- ed only minor paint repairs and the re-covering of a footstcol. The large armchair, high~backed chair, footstool, two small tables, and large table were used in a variety of combinations as will be seen in the shifting plot. ‘ Two hedges large enough to hide Maria, Sir.Andrew, Sir Toby, and Fabian were constructed of chicken wire and dark green crepe paper on a framework of scrap lumber. They were splattered with light green paint when finished. ,A collapsible unit for the prison scene was made entirely of old material. It consisted of a forty inch flat, two thirty-six inch flats and two eighteen inch wide wall- board pieces. A small round window was cut in the wide center flat, and fitted with a six inch thickness into which dowels were inserted to form bars. The eighteen-inch wide pieces were hinged to either side of the wide flat, and the thirty- six inch flats were hinged to these. The hinges were so 151 arranged as to permit the unit to collapse completely flat for storage. It was painted grey, stippled dark grey and green with cellulose sponges, lined with.dark and light grey to simulate the appearance of large stone block construction. Stage dressing, although simple, was quite effective. The display department of a Lansing department store lent eight lengths, each about ten feet long, of a forty-five inch wide rayon sheer, turquoise in color, with circle designs of caries colored iridescent spangles.1 Four of these were used as drapes in the small arches. The others were sewn together in two long lengths which were hung in three different arrange- ments through a large ring, twenty-seven inches in diameter, cut from scrap wallboard and painted pink. This ring“wae hung on a rope painted black to make it inconspicuous against the black cycloramic curtain. The rope was passed over the iron pipe on which the cycloramic curtain was hung. Thus the ring could be lowered for scenes where needed and raised.out of sight when it was not desired. In the first scene of the play, one end of a length of rayon sheer‘was draped into the ring and the other end tied into the tableau curtain. In all of the garden scenes but one, the two long lengths of 1 Fantasy Bpangle Sheer, 12th Editiog, Costume Fabric Revue (Chicago: Maharam Fabric Corporation, 19515, p. 152 sheer were cries-crossed through the ring and allowed to fall in four corners of an awning pole arrangement which consisted of four classroom window sticks painted pink and wired in pairs to light wooden crossbars. Each pair could be folded for storage. The poles were held upright by insertion into holes drilled in bars which.had been added to one end of each of the platforms. Additional color was added with long streamers of bright pink and blue ribbons, pro-tied and sewn so as to be easily slipped over the tips of the two front window sticks. In the garden gulling scene only one length of sheer was used, drOpped straight from the ring over the cross-bars of the awning poles. For this scene a short length of white picket fence was placed before the platform. To dress the areas outside the proscenium in colors keyed to the set, the center stairs were covered with maroon velvet scrape from an old act curtain. The outside right door was completely covered with an awning made of a piece of the same old velvet curtain. The ground plan of the stage, showing the set for Act I, scene 1 or Twelfth Night is found on page 155 of this chapter. The flccr plans and shifting plot immediately follow. 153 II LIGHTING The inadequate existing lighting was supplement- ed with small additional purchases and borrowed equipment. Three PAR 38, 150 watt bulbs were bought and placed.with borrowed alligator clamps behind the false proscenium to light the platform and upstage right and left. They were covered with amber gelatinee. The photographic combinations were made more serviceable by exchanging their metal tripods for two heavy misrephone stands from the public address system. These were set on the gymnasium floor at the apron on either side of the center stairs. They served to light the center forestage. The two center troughs of footlights were not in use, of course, since action took place up and down the center stairs at this location. A spotlight to light the outside right door and stairs and the right apron stairs was constructed from a section of stove pipe mounted on a square of one inch board and fitted.%ith porcelain socket and R to, 150 watt bulb. This spotlight was hung on one of the basketball baskets at one end of the gymnasium. A borrowed 2000 watt spotlight2 with heavy standard was M 2 Number 95, EAcog Catalogge, (New York: Schoen and Grows Lighting Equipment, #03 West h7th Street) p.9. 15b placed on the next to the top seat of the center section of the bleachers, wired in place, and pro—focused to cover the center stairs, center stage, and platform. All of the exterior lights could be controlled from the switchboard. The lighting plot is found on page 172 of this chapter, and the light cues are found in the script, Chapter III, under the heading Cues. 155 III PROPERTIES Prepertiee were few in number, and borrowed or purchased. Although swords could be borrowed from members of the Masonic Order, the first rehearsal with them in- dicated that their use would be empathically detrimental, presenting as they did an element of anxiety. Fencing foils were therefore borrowed from members of Delta Gamma Nu at Michigan State College. The preperty plot is found on page 173 of this chapter. 156 IV COSTUMES Costumes were harmonious with the colors employed in the set. They were rented from the Hooker-Howe Costume Com- pany of Haverhill, Massachusetts. Since they were ordered well in advance of production dates, the director could specify colors and styles. The girls in the cast wore ballet shoes. The costume committee made shoes for the boys, except for Sir Toby, for whom boots were rented. The homemade shoes were contrived from maroon velvet scraps of the old stage curtain, brown scraps from the old cycloramic curtain, and colored felt from old pennants. Large finger rings were made from bits of old Jewelry and beads mounted on large buttons with Duco Cement, with finger bands of small pearls threaded on wire. All the characters who carried swords were belts and holders which the costume committee made from muslin scrape. The belts were worn under the doublets and the holders were covered by the folds of the trunk hose. The costume committee had charge of repairs and pressing of costumes. They insisted upon their orderly return by the actors. The costumes used for rehearsals wBre stored by the chairman in boxes kept in the girls' athletic office. When the rented costumes arrived they were hung on a large hanger rack which was brought into the office from the shower room. The costume chairman recorded return of costumes for shipment when the productions were over. The costume plot is found on page 175 of this chapter. 15? V MAKE-UP Hake-up was supervised by the director's student- teacher, a drama major at Michigan State College. He spent several weeks training nine girls from the dramatic arts class in the technique of make-up. This committee served at all performances. The boys' athletic office served as the make-up room. Since it was used during performances for a place for actors when they were not on stage, it had to be cleared of make-up and supplies and most of the chairs be- fore a performance began. The director found that expensive materials, time, and tempers were saved by instructing the make-up chairman to prepare a kit of make-up for every character. This was done by cutting heavy cardboard into five by five inch squares, writing on each the name of a character and the base, liner, and rouge numbers he was to use. The chairman then arrived for make—up well ahead of the actors and the rest of the committee. She put a sufficient quantity of each designated make-up material on each card. Then the cards were placed on a large table. As soon as an actor arrived for make-up he found his card, began his own make-up if he was competent, or waited for the committee person who had been assigned to him, as the case might be. The mahewup plot is found on page 182 of this chapter. I 158 VI MUSIC AND CHOREOGRAPHY Musical scores were from three sources: the music used in the Mercury Text Records), the M M 133 W- W Pla s“, and original compositions and arrangements by Dr. J. Murray Barbour, Michigan State College. The melody for Feste's song £993 5391 2.333;}. which opened the play was taken from the Mercury Text Records. Guitar accompaniment was arranged by Gayla Dills and Thomas Perfitt, Grand Ledge High School students. Dr. Barbour arranged g3; 315g 3 L211! 293 1113 _L_a_s_s for vocal quartet with woodwind trio accompaniment. Q Mistress 14.1.1.9. was taken from the Samuel French score with guitar accompaniment arranged by the We Grand Ledge students. The catch sung by Sir Toby, Sir Andrew, and Pests was from the Samuel French score. Sir Toby's songs 22.92329. m; M y; Babylon and Egg- 333, M M were from the Mercury Text Records. Feste's 113;, 5933.3 was from the Samuel French score and his L513 99% 113, from the Mercury Text Records. M L1; 333 m1; 9; hazing was arranged by Dr. Barbour for seprano with woodwind 3 Orson Welles, Mercury Text Records, Twelfth Night, Columbia Masterworks Set G-7 h 111; M Music to. Shakespeare' Plaza -- nglfth Night (London: Banner-French, Ltd., 192 159 trio accompaniment. His Sixteenth Century Galliard was arranged for woodwind trio and used as a recessional as the characters on stage at the end of the play left by way of the center stairs. At the conclusion of the re- cessional Fests sang his Epilche M which was taken from the Samuel French score, the guitar accompaniment arranged by the Grand Ledge students. Since Fests was unable to play the guitar, he was taught to strum and finger one in a convincing manner while the guitarist, seated in a spot where he could see Fests, played off stage left. The guitarist used a small micro- phone pick-up on his instrument which feed into an amplifier placed behind Feste's bench in the first scene and behind the large table in the wine cellar scene. For the epilogue song which was sung before the act curtain, the amplifier was placed behind the curtain as it closed. To save the guitarist the need of coming to every rehearsal, a tape recording of accompaniments was made and used in all except final rehearsals. The recorded accompani- ment was deemed too inflexible for the performance; the sensi- tive accompaniment of the guitarist off stage gave a superior effect. Musical scores are found on page 187 of this chapter. 160 Misc Elinore Thompson, girle' physical education teacher at Grand Ledge High School, arranged the choreo- graphy for the revelers' dance in Act I, scene 6. It is found on page 195 of this chapter. 161 VIII PUBLICIZING Twelfthlgight was publicised through the same mediums the director had found successful for other per- formances. The school campaign served to interest the teen~ agers: a city campaign stimulated interest among the adults. The school paper served to inform and interest the student body. In addition, one large banner display done by an art student was hung over the entrance to the study hall in the last two weeks. The school public address system was used to ask for needed property items early in the rehearsal period. This in itself was good publicity, since contributors felt a personal interest in the show. In the last two weeks the public address system was used daily for a fifteen second attention-getting announcement on the play. Large photo- graphs of cast members were displayed in a hall display case, before being taken to a store window. The director found the use of publicity pictures to be valuable. These pictures were taken from three to four weeks before production so as to be effectively used. This early date presented problems since rented costumes did not arrive until the week of production. Five pictures were taken for Twelfth HAEEE publicity, using costumes which had been borrowed from the Grand Rapids Civic Players. These 162 pictures were finished in sixteen by twenty inch mounted prints and displayed on easels in the school building and later in a large store window. Four by five inch prints of them were mounted on commercially printed window cards and displayed in store windows. The variety offered by the five different pictures added interest to the window cards. Prints of these publicity pictures are found on page 197 'of this chapter. The director requested the presidents of the women's clubs and service clubs to announce the dates of productions at meetings. Three cast members who were Junior Rotarians presented a shit at a Rotary luncheon. The large pictures were prominently displayed before the large crowd which attended the Child Study Club style show a week before the play, and the president of that organization announced the dates of the production at the style show. Newspaper publicity was carried in the State Journal, The Grand Ledge Independent, and the Grand Ledge Reminder. Advertisements as well as news items were carried in the local papers. Emphasis on the interest of Michigan State College and the Grand Rapids Civic Players in the production had publicity value. Newspaper publicity will be found on page 200 of this chapter. a special high school matinee performance was play- ed on Thursday afternoon of the production week. Mail 163 publicity was used for this performance. The director sent letters with postcard returns to speech and English teachers in the area. The letters stressed the education- al and entertainment values of the production, and briefly described some of the interesting aspects of its staging. Two hundred and fifty students and their teachers were brought by their school buses from Vermontville, Dimondale, Charlotte, Williamston, Potterville, and Belleview. 16h VII ORGANIZATION Preper committee organization is an essential of every successful production. Thespian members and those who sought membership were invited to sign up for the com- mittees of their choice. In addition to serving on the \oommittees for'which they were listed, students could spend voluntary hours on the stage in construction or painting. They could leave their study halls to work on the stage, using a study hall permit signed by the director. Many students put in hours after school and evenings and Satur- days. All hours worked were reported by the workers to the business manager who posted a.weekly reckoning of the hours worked by every student. She later posted the total hours and the corresponding number of Thespian points earned by every student and actor. Heurs spent in stagecraft totalled four hundred and five. Total number of Thespian points earned through stagecraft and roles were two hundred and fifty. The duties and personnel of the committees are sum- marixed below: Construction and painting: under the super» vision of the director, stage manager, and assistant stage manager. Any student who wish, ed to spend time on the stage as carpenter or painter earned membership on this committee. Set dressing: the same set-up as for construc~ tion and painting; Many hours were earned by girls who laundered and sewed curtains. p 165 Properties: in charge of a Thespian. Lighting: in charge of the stage manager. Makeup: under the supervision of the direc- tor's student-teacher. Members were students from the class in dramatic arts. Stage crew: the stage manager, two assistants, and the cast under the direction of the stage manager. Business: in charge of the business manager who supervised ticket sales, banked‘with the central office, kept account of hours and Thespian points, and supervised house committee. House committee: ‘girls of the class in dra- matic arts #10 served as ushers and ticket takers. Publicity: supervised by the director who worked with cast members who were Journalism students. 166 Ground Plan of the Stage Grand Ledge High School twelfth Night Act I, scene 1 /66 ‘ fro'Sou unif- Vaf' ll‘ug‘ j ‘ SNM’S P14 {for M p [affirm I l CMir Tab/e. +Shu’rs i [1219 ! T a back | 7/7]! I? I ! Pia h a case I . I @740! I l / E ' ! I l .1 ; fit” 33’s " I foof’ thfé E ! CZ Ground PM“. 09 stage Greek Lodge. High deo| A at I, scene : , Twelka Na'géf scale. ‘1" 's (’0 " Dean-bury, Igra. Floor Plans W 00 sW \ / \ / ___/ \___. _/ \___ Aft/U L/l/‘J‘o WV M m m m W Ach, scenes. ) Aroom ukfixe Duke’s palace. AC? I, scene 7 , A Wine cellar In Obi/fa}: AOL/SC. i e W‘ 5112’ [:1 NW” C223 ’ bat: . C33 / W ' “‘/ W .___/ \—'—— _/ \____ W W W m m 2122 Ill/IA Ac? I, scene 3, A room n3 O/Ii/I'a’s‘ Aouse Ad” 11) Scene .2) Anof/xer pa r1 of Obs/.483 yarn/en W D .1—'—To if C: a 3 f % & Q & W W / , \WMN _/ \__ —-/ \__ W Wm- N‘Vv WW m , m m m Ac‘fI, sceneJ, Diana’s Gachn Acffl, scene 4, Before a. fer/son. Floor Plan: {'"I’ Shifting Plot 168 SHIFTING PLOT I-l . The Duke'- palace Place platform and steps Armchair, table, footstool,R. 303011 U.C. Bench L Tableau drapes Sheer drapery through ring and tied into L. tableau Pauli and.Antonio I-Z Forestage The seacoast 1-3 A room in Olivia's house Place platform and steps Faull and Antonio Release 1. tableau to haw straight - Antonio Raise pink ring - Antonio Remove sheer to piano case Sir Andrew Remove armchair to off 0.1.. W Sebastian Place C bench to R be Sebastian ‘ 0 Remove L bench to off U.L. Place server U.C.- Orsino on Place straight chair I. Valentine Place small table from R to L - Curio I—h Forestage The Duke' a palace 169 I-5 Olivia's garden Place platform and steps Pauli and Antonio Remove server to platfon sn- Andrew Remove straight chair to platform - Sir Toby Remove small table to off I. 0 Q Pia Lab: ’3‘” 8 I, II & so no - esm:n Place hedge v.1... % . Piacs hedge U. R.Priest, Sebastian Raise tableaus to ceiling Sir Toby Pix sheer - Andrew, Toby Place poles - Lady I,II I-6 A street Io? A wine cellar Remove table from platform to R - Priest Remove straight chair from Platform to L - Raria Remove bench, hedge i. to off U.L.-8sanen I II Remove hedge R to off ILR. Orsino Lower tsbieaus to straight Sir Toby Remove sheer to piano case Bir Andrew,!'sbisn Remove awning poles to off U.L.- Raria,Olivia Place platform, steps Pauli, Fests Place railing - Raris,Oiivis Place armchair, big table Seaman I, II Place wine barrel - Priest II-i Before act curtain Before the Duke' s palace 170 11-2 Another part of Olivia's Remove railing to off U.R. Garden Lady 1,11 Place platform and steps Paull, Antonio Remove big table and ans- chair off UR -Priest, Valentine . . am Remove R table to off UR “fl‘ ' Seaman 1 Remove wine barrel to off 0.x. - noun CD a (:3 Place poles - Lady 1,1! (1 Raise tableaus to ceiling a : Toby, Iabian Pix sheer - Andrew,6ebastien Place picket fence -Antonio Place straight chair UC -' Place bench, hedge L Seamen 1,11 Place bench, hedge R Priestflalentine 11-3 Porestage Another street Il-h Olivia's garden Place steps -Paull,Andrew ..--“ _______ Place straight chair on """2 ' V 7‘ " '"fiwfi; platform 4ndrew L I I: Change sheer -Andrew,0rsino Adjust bench, hedge R E: Priest,Valentine Q Q Adjust bench, hedge L Beamen 1,11 & % Remove picket fence to off U.R. Priest Ill-5 Porestage Before Olivia's house 171 11-6 Before a prison Remove straight chair to off DL - Lady 11 Remove poles to off UL Lady 1,11 l i I Place steps -!'aull,Priest A Raise pink ring - hull Remove sheer to piano case / i5 ES Priest Place prison unit - Curio, Valentine,0rsino Place stool behind flat Ralvolio Aflust bench L - Seamen 1 Adjust bench R - Seaman 11 Remove hedges to off UR,UL Seamen 1, 11 % 11-7 Poreetage A room in Olivia's house 11-8 Olivia's garden Place steps - Paull,Antonio Remove rison unit to off -Ourio,Valentine, Orsino Remove stool to off UR Ralvolio Lower pink ring - Ralvolio 0 Q Place awning poles - Viola, Valentine Pix sheer 4ndrew, Pests & % Place armchair on platfon Viola, Orsino Place hedges R and L Seamen 1, 11 172 1 V 4 -' \ / mongooa / / m 5444' llgkf' L...J PAR 38 U Fe 0+ Ill/sf \—/ P‘s/'ograflu}. clool- s Inf“ U Shh/spin war“ Rye \J 2000 w. SPf/lg‘f' \J 173 PROPERTY PLOT ACT I SCENE l ' fruit bowl on table R. with: pineapple grapes apples SCENE 3 whip on-Sir Toby drinking mug on bench R. lace handkerchief for Sir.Andrew SCENE h dagger brought in on pillow by servant from D.L. SCENE 5_ cushion, Lady I from D.L. book Lady II from D.L. staff for Malvolio puree on belt with coin on Olivia ring on Olivia SCENE 6 masks on girl singers SCENE 7 candles on small table R. tankard on small table R. bowl, dipper, two mugs on big table L. lantern for Halvolio from U.L. PROPERTY PLOT ACT II SCENE 1 ring on Oreino SCENE 2 letter on Maria SCENE 3 puree on Antonio SCENE h swords on: Antonio SirnAndrew Sir Toby Viola Sebastian letter on Sir.Andrew cameo locket on Olivia SCENE 5 puree with silver dollar on Sebastian (Can be purse SCENE 6 given him by Antonio) lantern, gown, beard for Maria from U.R. SCENE 7 pearl ring on Sebastian SCENE 8 bloody bandage on Sir Andrew's head from D.L. bloody bandages on Sir Toby's head and leg from D.L. crushed letter for Malvolio from D.R. 17L» Sir.Andrew- Sir Toby- Malvolio— Doublet - Trunk hose- Hose - Shoes - Cape ' - Hat - Jewelry - 175 COSTUME PLOT yellow satin with silver brocade and red bows. yellow satin red red felt with red rosettes yellow satin with red satin lining silver brocade with red plums rings, long neck chain with medallion Lace handkerchief - to carry Doublet - Trunk hose- Hose - Boots ~ Cape - Hat - Shirt - Doublet - Trunk hose- Hose - Shoes - brown leather with.thong lacing, brown velvet sleeves with leather bands decorated with brass nailheads. brown velvet light brown brown, knee-length.with wide cuffs brown velvet brown velvet with large black plume white satin ballet black satin with black velvet and braid trim black satin with braid trim black; yellow, for change, with black ribbons for cross gartering ' black velvet with bead trim kalvolio- Antonio- Orsino- Curio- Cape - Hat ~ Jewelry - (for.Act I, 176 black satin black velvet with black plume large silver badge of office on chain scene 7) Long white night gown Tasseled white night cap 'Doublet ~ Trunk hos e- Hose - Boots - Cape - Hat - Shirt - Doublet - Trunk hose- Shoes - Cape - Hat - Jewelry - Doublet - Trunk hose- HOBC '- brown leather with thong lacing, red cloth sleeves with leather bands with brass nailhoade. red cloth light brown high brown leather red cloth with black braid trim, long armhole style pork pie black velvet with black plume white cotton with wide round collar purple satin and velvet with gold braid and jewel trim purple satin with velvet slashings maroon velvet with purple satin rosettes purple velvet with satin lining and wide ermine collar, short armhole style purple satin with Jewels and lavender plume large finger ring light blue and goie brocade with maroon trim brocade with maroon velvet slashings maroon Valentinee Fabian- Foste- Shoes - Cape - Hat ~ Doublet — Trunk hose- Hose — Shoes - Cape - Hat - Doublet - Trunk hose- Hose ~ Shoes - Cape - Hat - Doublet — Trunk hose- Hose - Shoes - Cap - Bauble - 177 maroon velvet with blue brocade rosette maroon velvet with blue brocade lining. blue brocade with maroon plume blue velvet with light blue and silver brocade t rim silver and blue brocade with blue velvet slashings blue maroon velvet with brocade rosettes blue velvet with blue satin lining blue velvet with large white plume dark blue velvet with yellow and rose ribbon trim _ dark blue velvet dark blue maroon velvet with dark blue rosettes dark blue velvet with satin lining dark blue velvet with yellow and rose ribbon trim green and white striped satin with bells green satin one green, one white green felt with pointed toes green and.white striped satin with peak, bells on neck piece and peak fool's head with bells Sea captain- Doublet Trunk hose- Hose Boots Cape Hat Priest- Gown First and-Second seamen Doublet - 178 brown leather with thong lacing, brown cloth sleeves with leather bands decorated with brass nailheads brown cloth light brown high brown leather brown cloth brown cloth pork pie with small brown plume long brown cloth with rope belt, cowl for head plain, straight-hanging tunic style, green cloth with black and red braid trim Trunk hose- red cloth Hose Boots Caps p - ,light brown high brown leather green cloth with black tassel and red and black braid trim First and,eecond officer— Doublet Trunk hose- Hose Boots Helmets brown leather with'thong lacing, red cloth slashings on sleeves, nailhead trim use those worn as seamen use those worn as seaman use those worn as seamen silVer Sebastian- Olivia- Maria- Doublet - Trunk hose- Hose ~ Shoes - Cape - Hat - _Gown - Hat ~ Shoes - Gown - Hat - Shoes ~ Gown - Apron ~ Cap - Stockings - Pantalete - Shoes - 179 white satin and maroon velvet with gold braid and jewel trim white satin white maroon velvet with maroon velvet rosettes maroon velvet with white satin lining white satin with large white plums black velvet with braid trim small black velvet trioorn with black.veil black ballet white satin with elaborate white braid trim small white satin trioorn with white veil white ballet bright blue cotton with white sleeves and bodies front with black lacing, black braid trim white cotton white cotton heavy white cotton a cotton ruffle sewn on elastic and worn above the calf to peek below skirt black strap Lady I- Lady I I- Viola- Flutist- Gown Rat Shoes Gown Hat Shoes Gown Hat Cape Shoes 180 tan brocade with gold satin and blue braid trim JUliet cap of tan brocade with braid trim black ballet green brocade with tan brocade and black braid trim Juliet cap of green brocade black bal let simple light blue brocade with black braid trim Juliet cap of blue brocade long, drab brown in color, with large cowl maroon velvet Boy's costume - exactly like Sebastian's Doublet Trunk hose; Hose Shoes Cape Hat brown satin with velvet trim brown satin brown maroon velvet brown satin with light green lining small brown velvet beret style with small brown plume Oboist— Doublet — Trunk hose- Rose - Shoes — Cape - Hat — Clarinetist- Doublet — Trunk hose- Hose - Shoes ~ Cape - Hat - 181 black velvet black velvet black black ballet black velvet small black velvet beret style with small black plume dark blue velvet dark blue dark blue black ballet dark blue velvet small blue velvet beret style with small blue plume . Sir Andrew- Sir Toby- Malvolio- MAKE-UP PLOT (Numbers are for Stein's make-up) Base 2} Rouge light Powder h Arch eyebrows for effeminate look Age lines around eyes Wig blond Base h and 5% Powder ll Rouge dark Nose putty, large and turned up on end Age lines around eyes Eyebrows, grey crepe hair Wig grey and balding Base h Powder 9 Rouge light Small, dark brown moustache and goatee Accentuate thin nose Age lines on eyes, mouth, forehead Wig comb-back dark brown 182 183 Antonio- Base 5} and 7 Powder 9 Rouge dart Beard and noueteohe full, grey, trimmed in round shape ,Ago lines eyes, forehead, mouth Orsino- Bassji Powder 6 Rouge dark Darken eyebrows Drop hairline in front of ears Curio- Base 5% Powder 6 Rouge dark DrOp hairline in front of ears ‘Valentine- Base 5} Powder 6 Rougo dark Drop hairline in front of ears Fabian— Bsse 5% Powder 6 Rouge dark Drop hairline in front of ears 18h reste- Base 2 and 5} Powder b Rouge light lxsggerate eyebrow droop Bea captain- Base 5} and 7 Powder 9 Rouge dart Darken Jaw line Priest- Base h Powder b Rouge light Age lines mouth, eyes, forehead Beard sparse, grey First and second sea-an- Base 7 Powder 6 Rouge dark Darken Jaw line first and second officer- Drop hairline in front of ears 185 Sebastian- Base 5} Powder 6 Rouge dark Darksn Jaw line slightly Rair‘wae allowed to grow very long. Under hat it looked much like Viola's since hers was rolled up short. Olivia~ Viola- Maria- 186 Base 2% Powder h Rouge light Eyebrows brown‘with delicate arch Base 3 Powder h Rouge light lyebrows light brown Hair in page boy style, rolled under Base 3 and Stein's stick, bright pink Powder b Rouge light Eyebrows dark Hair in stiff little ringlets under cap Ladies in‘waiting- Rusioians- Base 3 Powder h Rouge light Darken eyebrows, intensify arch Rair in long page boy style Same make-up as ladies in waiting, but make eyebrows straight 18? Musical Scores Come, AWL?) flea fA freon Mercww’ TAM’CV QCGOPXS f’ ’7" ° )7 Augewenf- ”Hind, e I Goo/4r "Jud 6'17/4 D”: 0" /AI;()' .... l“- Uack (of—fa; lei flare A: SfI-own' Fesfe .~ c.9- COMC ‘t‘ “1, CM“ 1" W4 D“, ’_——- (a! 1.; 544 c - press /c/ he be Not 1" f/NV’V, hof 4 f/OW'P Saves f— 0a 0..., )— ~ _A - .. _ ________—_____-,-‘__.__._ -. -.— m; ff C... F’ 6‘... H1. at: "well-Ly}, a- ~41, b ., r4... “nab a ti- Crud! 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HM eyes [or Show [(55 14734": 4/ has} X00“. Ewe—VON (ear llm" ‘VfIWI/l he vcr 1.235.111” £11501“ {07 W4“ If 70» do? $54111: 5.2 but go and stare not? 0 no no, no Y‘ ::(.':o* ——- .—-—-—_———._._._._- ___.__......--__ “g —— _. ____...- ._. “—— Hu' . Ro LION. - Fest: -.....- .... ("4,947. M7 (a, (ml..- an. or. ....-VIV ___ w “$5 J I Am 6‘.» e, Sir - fesfr. we. guts“, a“ an “03,50?’ I’ll ‘c. in.“ ”wet- 343'». /7/ A77‘ NOW ‘5 fkfi Neath Of Mavufig ‘1 r‘OM‘S MOP/(7 API"u!C/ 17 \/, ”yrra’ 5‘yi’yr {New {8 #c‘fitttémr'..:,uu was", his as M- (.1. Fa [a Is. la. la. la 1., b la. _ fl . l2. —————- — —‘—_———-, {i I; I; h \l ‘1': h. Each ‘quUshaoh' less, “A Jan-cits M 3? . __.__. . ..- y- -r 4 ? —.~ _— --..._,._.-._-_ 12:: Tim SfmAg clal al/ {a gladwess And #0 #Ae bag- rape? 59“.! 30“ laugh A’ anz‘er's gnxwess T‘Q "1MFA‘ fI'Cll ay; f/yeu’ (royal, I. Fa /4 /I\ /A In. /a. {A /d ht Fa la la ’4 l4, F4 /a la /a /4 la la ‘Fa IA [4 {I la /a /4 Fa /a la /a In“ -..—-..... /7.2. PYOCQSS;OK (I‘+k Cchfun’ Gil/I'drl‘ atrnué‘ti LI, Jo Murr47 Bdl’I‘e¢IP) . 5" ’ \ \ I S'Io I .111 IYTT‘w PM“ E '/ c - . PI 0 g (I 50“? GUI/a“ Arrangemeuf— flames Perflfl FCSI‘e find Gay/a DI.//J ::ZT- 4“b’”;'::fif: __V___ _ “_ “m .l;.:I_ V__ “I I ‘f _”:s -u, _ 3* é»? 7415???? E F L51: ' With" f ’7' " g C:— 5 t’jjijjfr: 1“,de wssa M—f/c hon, 170‘] walks. A87, A0, ‘10,, AD, “'5 Mid ulfleTrm'a’A.» foo/'ISA “It! was byfa' fay for‘flne rel}: If 5557i 9:5 P ‘TTP*-‘i_?* P: P ‘5? *CiP-P s:i~P‘*—— ! ” P7. “4- P» ” w _ ,fl-‘ -.s CrcIIIscI. Cresc :1 ma. :53 :: cw ?::~—;-~:::*‘—ii 1‘: :n: 5 if)“ g D $9i5i“§1*7*F-"~ :43: - ) ram-eh; ev' H, 447 : wiM a My As, hey, 0, rag and MI rack f0 Me ram ram eH~ Cr 3'7... day. 2 50¢ IA: If ' .___i_-;:~~~ -_s—~;_;g~—~-—_>_-_A, ' g" A ‘:g-_;_;_ A A 5* ** 71 - -5 w-~-1-~-:;::r -:—-5i-* A — i G“ ‘“ CR“? -_ __si_9“’§“”—‘~*‘F “Dr:—C:§injfi::‘21-3::f’~‘?i‘iiifi'c7”~ai—“"-Tiff’i-figifflfgfar 195 CHOREOGRAPHY FOR REVELERB Enter dancers laughing and singing. The girls are masked. x represents boy; 0 represents girl. ”It was a lover and his lass, Dancers skip through DL arch to DC in couples. C x x DL < 6""o “With a hey, Girls curtsy to boys. xo ox “And a ho, Boys how to girls xo ox ”And a hey-no-ni-no Boys half-circle girls, flirting. (33:36? “That o'er the green corn field did pass, Four Join hands, balance forward and back at center. Oat-O H++M “In the spring time, Boys take partners back to first positions. 10 ox "The only pretty ring time, Boys slip masks from girls' faces. 10 OX "When birds do sing, Boys replace masks on girls' faces. xo ox “Hey ding-a-dingbding-ding, Girls half-circle boys. Q: of? "Hey ding-a-dingbding-ding, Boys quarter-circle girls. 3} {3 "Sweet lovers love the spring!“ Exit DR with step-close, holding hands and swinging arms. DRI, x x ‘ o o 196 197 Publicity Pic tures Net-{spam 1’ Pub]. 5. c i ty (J C.» s.) COVERS ALL Vol. V, No.-l GJHHfih October 11, 1951 mamas: LAUNCH simm- STAGE Gun SHE'S in love with HER BOSS, but HE does- n't know it and SHE can't tell him-~SO- since HE thinks SHE'S a boy- HE sends HER to another woman whom HE , thinks HE’S in love with, to tell that Is- dy that HE loves REEF- BUT-- since SHE'S in boy's clothes and re- ssmbles a very hand- some young man, SHE falls in love with HIM (or is it HER?) until HER brether comes a- long, and then SHE decides that SHE real- 7 1y loves HIM. By that time HER BOSS decides that H! really loves HER(or is it HIM?) now that HE knows SHE'S (or is it HE'S?) a girl. AND THE! ALL LIVE HAPPILY EVER.AFB TER. Can you unsoramble this? the first student to brine the editor a correct solution, sub- stitutins names for he's end she's will receive two free tich- sts to the era-etic geosrtgsnt's f produc- ion 0 Iii} 53 March .ui‘éat It's no see. the 15 students who are in the 'cast of '1. Mt know the an- fiver. and so do most of the class in dre- nstic arts. they're s'cluded from the con- 53-23:) fflgSpéfl§fl ‘COVERS . Aw“ 1 Volume 1, lo. 8 'TWELFTH NIGHT‘ CA5! ONE OF LARGEST SEEN "Tm gt, the Shakespearean play to be presented March 21 and 22, is a hilarious comedy which is expected to equal Cherlie'g_ 5393 in pro- ducing laughs,‘ stated Mrs Ellis, coaching the pro- duction. This play also boasts one Of the lsrgest casts seen on the GLHS stage. In order of their ap- pcarrnoe, those in the cost are: lusts the Jester a spritely figure in many colors, Dob Drexler; Orsino, the youthful, ro- mrntically handsome duke, Jerry Bough; Curio and Valentino, the gentlemen, Roger Hewson and Stuart Shelly:‘VioLs,1 a shipwrecked lady who be- comes disguised as a page to Orsino, Barbara Hobie; a sea crptain, Tom Stork: Sir Toby Belch, the Count- e_ss Olivia's uncle, a fun my," 0. L. Ht 3. tian, a shipwrecked gent- leman who is mistaken for his twin sister, Viola, Gary Hoble:.Antonio, a sea captain, Dick Sheren; lab- ian, Olivia's young serv— ing man, Ken.Lehman; the priest, Tom Stark; First Officer, Bill Sterkweather and the ladies in waiting,' Eleanor Phillips and Jack» is Finney. Students from the music department, under the di- rection of Mr. Ice and Mr. Gilbert, will furnish mus- ic. Ronnie Hoe, Dorothy Overholt, and Hina Husted, will form. an instrumental trio. Guitar errnngments will be by Tom, Perfitt with vocal and instrument- al music arranged by’ Dr. duke's may harbour of $8.0. Hr. Wilbur Dorsett, sl- so of H.S.C., is scene de- sign consultant. Turni— ture will be obtained from the Grand Rapids Civic Theater. Tickets for “Twelfth will go on sale and liquor loving old fel- next week. low, very fat and very herrty, John Peck: Maria, Olivia's first maid, a wee plump perhaps or a little vixenieh, but certcinly a gay little mischief, Con- nie Kingsley; Sir.Andrew Aguecheek, a week witted, strutty little man, Jerry Fortino; lady Olivia, a lovely, refined countess, Gayle Dills: Helvolio, the head of Olivia's house- hold, a dry, sallow faced. overly dignified personrgt Larry VrnderMcere; Sebas- ‘ February 28, 1952” 273% 34%| a 57 ‘COVERS - eLU JT-iw Volume V, No. 9 " 'G. L. a.-S. March 13, 19§gL TWELFTH NIGHT‘SETMARCH 21,22 Double Trouble .~ _ 'Fim'niest P ay Ever Gwen.' Claims Stark - When asEed for his opinion of the spring play -, .3; Twelfth Night, to be pre- '"'" sented March 21 & 22, Tom Stark replied: "I really believe this play will be one of the funniest plays the GLHS Thespians have ever produced. You en- joyed the wine cellar scene yesterday. Now come 1 q“ to the play and see Jerry Fortino, as Sir Andrew, V1013 and S’bCStian' quake in his boots at the twins in the comedy thought of fighting the "T'elf'h Night". are duel which he was forced [ played by Barbara and into. You. will also see ; _§§ry Noble. other hilarious situations L these comedians have in ' store for you." MANY HOURS SPENT Many long hours have 5 been spent in rehearsal land -on stage work. Bob iFaull, stage manager, has ‘worked long on carpentry, painting,. lighting, and ‘organizing his crew. Dick (Sheren is assistant stage .maneger; Delores- Nelson, properties; Joyce Merrill, costume. Make-up is by :the class in dramatic arts and Thespiana. Others working hrrd to .make ,the play a success are: Joyce Merrill, Bev- erly Tasker, .Ann Kuhn, Grace Pitchford, Dale Mid- dough, Mary Jane Durst, Dick Scott, and Larry Van- .derHoore. College. Educators In Shakespearean Play .issisling lt‘llh I I i gh School Play A.‘ _. ,,_,M..—..-. anew-amuse” l in on ‘ouraging L'i-wl dramatic :h'i Hui-nuns so high sin a». ‘5 .1. -;.m Sim. mil" ;.~ is asshl- _.-., llI ' ll. .‘ffthi‘ly i‘fl 'l. 'il‘. li‘ ”in )1“. (hand lmmw ;-l -i{ v ;..:i . :' Sl:.il-.w~rn-:ii. ’- "\l Tll ll \l hl" \lmw ‘..'l.-‘.'.' l nail " .~ -l :‘H'wl‘. Hf ‘ll ., .\ll. ..ll" l l l\' K I :1 ll t" ln" lll ll hl'l' l "lln ;1:}Ill-.ll:" p‘ a. l~'\f‘ltl ll) lv- ”1' lllsl Slif'l-."*;~"l7i‘ Hulk 1') ll" pii-ili: «l lll tin i-uxi‘niiuniiy, 8rd. in its lllllHVflll- n. is i‘\:wrtmf tn il':i'.\ \'i~i?(i'~~ {Twill fiiltl'llnm; schools. Mrs l"ll.< niimo-s llvm li'u-ll. ' 1" (lll‘l'r'll .» ul' «'raninliw: at .‘x.’ S (T, ' .. as assislin; in pinnn'n: the my l3:lllv(llll' of the nitisic far. Ull_\', will) has (‘nmpiisod Int‘l- dental iiiiisiv. are ulsvi gin-st ad- l . . .- g" ' v. ' - . . .9 ‘ I .- l I ‘1 ' user’s“; If. \i - al‘ (lilnl vi with i . , - — ~ -- ...! ends in the Grand L038: high b “"L an! {Zic‘g’klmil'm‘nh “"ll . '" : schml pie-sintntion of T"weltth .... 0 "' . "NV" .6 . '° 9 ' Night." 3 W’illinm Shakes care it? Ix; '3“; lglw-r and “’5 1143“" I Tlt'plflh' 1‘ lght l conu-dv. will be played bvptleft r. ar our's origins :u-t- : ‘ ' i- l' W lins- . To Bo Prespn todll ii; {first Milli/n ‘33??? $1 - ‘ I | T b‘v‘Bclch)‘. bonnie Kingsley.“ U _ . - r . pier-e. \t'ilmit‘ Dotson. si-o-nc dc- sign specialist. and llr. J. Mm- ,3 K Maria. and Jerry Fortino as Sir «Special to The. State Journal) Andrew Agueckeek. GRAND LPIDGH March 1.3—le high schotil 'I‘hcspians vsill present Shakespeare's “Twelfth Night" on lHigh *SChOOI Play the high St'huul stage Friday and' salll:téa:li?i::i"fillis. director. has l i set for Marc" 21;: had experience in Shakespearian -___.___ drama. and is receiving help from ; ‘ ‘ the drama department Of Michigan ‘1. b. C. l‘acullv Mpl‘nbcrsé State c liege and the Grand Rapids . .d. (. ' L l Civic p nyers group. l Al "'3 at 'o 9‘ g9 There is a cast of 24 consisting ‘ ' I of Dorothy wa-hnli. Ronnie Moe, (Specigl to The sum. Journal) Nina Hosted. Bob Drexler. Stuart GRAND LEDUE. hltil‘t‘h 12 __ Shelly and Roger lieu-son. Jerry 'Th .. ., .. . Hough. Barbara NOhlP, Tom Slflrk. l 0 (Hand Lt‘dgl‘, lllhh SthUOl “ill Bill Starkwesther. Dick Scott. John iPl‘PWm Shak"~ll“fll""> "TWt‘lllh Peck, Connie Klnlgzley, Lang Vnn- lNight" on March 21 and “.32. Bar- dermoere. KP" hman. “PM”. ibnra and Gary Noble mll be cast fidlllD‘l‘c'kJ‘SchflfeimneLGu-y hob]: as the twins. Viola and Sebastian. The local Thespinn club.No. 356. .Cumvdy roles Mll m- played byi is a member of the national honor , lLari); Vandchoo-rc. John Peck. society and includes six national Jerry k'oriino. Connie Kingsley.i ,members. with Larry Vandermmre Bob l‘nexler and Ken Lehman, as president. Jerry llough plays the Count Or- a *:‘—*—~ isino with Stuart Shelly and Roger gliewson cast as his attendants. The lady Olivia is played bx Gayle; 'Dills with Jackie Finncy and Ellen-i |nor Phillips as htl‘ attendants Dick Sheren plays Antonio. Tom. ‘Stark doubles as a sea captain and priest, Bill Starkweather and Dick :Scott double as seamen and niti- ;cers. Music has been arranged for the lproduction by Dr. J. Murray Bar- bour of Michigan State college. Gerald Gilbert and Arthur N. Moe gdlrect the instrumental and vocal arrangements with high school 'band members. Ronnie Moe. Doro- ,thy Overholt and Nina Hosted and .churus members Jackie Finney. :I-Ilennor Phillips. Roger Hewson and Stuart Shelly. Guitar arrange- ments are by Tom Perfltt. Don Buell. John Jennings and - Wilbur Dorsctt of Michigan State college have served as direction .nnd design consultants. Mrs. Miri- lam Ellis. Thespisn sponsor. directs the show with Bob Faull serving lits stage manager. lihespians Present :Shakespeare Play lHere March ll -22 Twelfth Night Promise: To Be One of Best of i All Productions The Grand Ledgi high school 'l‘hespians have gone far back into ltiie past for their annual winter presentation “llt'll William Shake- speare's 'l‘m-iftii Night makes its appeai'uiii v on the high school stage Friday and Saturday night. March 21-22 The play. in rehearsal for many weeks. is expm ted to be one of the best iii the long list oi dramas put on by the club. and an enormous amount of Work has gone into the production, b) the cast. directors and stage hands alike. Miriam Ellis is the director. and is making good use of her exper- ieuce in Shakespearian drama. She is receiving help from drama de- partment at Michigan State college. The Grand Rapids Civic players group is also aiding in the task 0! making the difficult play a top notch production. There is a cast of 24 in the play. which is composed of two acts. with seven scenes in the first and eight in the second. The cast in order or its appear- ance. includes Dorothy Overbolt. Ronnie Moe and Nina Hunted. Intui- cians; Bob Drexler. a Jester; Stuart Shelly and Roger Hewaon. the Duke's attendants; Jerry llougb. the Duke Orsino; Barbara Noble as Viola. Tom Stark. who doubles as a sea captain and a priest; Scott. who double as seamen and officers: John Peck as Sir Agno- cheek; Connie Kingsley aa Olivia. a countess; Larry \‘andermoere and Ken Lehman. attendants to the countess and Eleanor Phillipa and Jackie Finney. ladies in wait- ing; Gary Noble u Sebastian and Dick Sheren as a sea captain The local Theapian club. No. 3“. is a member of the National honor society and includes six national members. with Larry Vandermooro Bill Starkweather and Dick . I as president. High School T liespians i .“5 Jr“ l Li. Pictured here are four of W illi: tin Shakespeare-5 (haracters who will come to life Friday and Saturday evening when the Grand high school Theaplans ”Twelfth Night" in the high school auditorium Reading left to right: Larry VanderMot-re as Maivolio; Kingsley. Maria; and Jerry For- tino. Sir Andrew Aguecheek. The caat of 24 in the play in- cludes Dorothy Overholt. M00. and Nina Husted. musicians; School Play The Grand Ledge high school. Mn: at a play. “Twelfth Night.” in the high actual auditorium Friday and. Saturday. Hat-ch 21 and 22, at 8: 15 p. m. A medal matinee perform anoe for 200 students from area schools will also be given Thurs- :day afternoon. -» Caat of characters for the event is as follows: Musician, Ronnie Moe, Nina floated and Dorothy Overholt: Petite, Bob Drexier; R0Orsino, Jenny Rough; Curio, Hewaon; Valentine, Stuart“o elly; Viola. Barbara Noble; Sea Captain, Tom Stark; Sir Toby Belch, John Peck; Maria. Connie Kingsley; Sir An- drew Muecheek, Jerry Fortino: Olivia, Ga la Dills: Malvoiio. er Moore; Sebastian, Carry Noble; Antonio, Dick Sheren; Fabian, Ken Lehman; Seamen, Bill Starkweather and Dick Scott; Ladies in Whiting, Eleanor Phillips and Jackie Fin- ney. Mrs. Miriam Ellis. director. has had experience in Shakespearian drama, and is receiving help from the drama department of Michi- gan State college and the Grand ,Rapids Civic players group. / i of ...-add» [it‘dKP' present; John Peck. Sir Toby Belch; Connie! Ronnie 1 . J c... . ilob ilrt’hlt‘r, Fests. a jtslel‘; Jerry Hoiiali. (lie liiike (ii-slim. Stuart Shell). \‘aiii-iitiize. and ltoger Hew- soii. ("Ulin. both attendants of the lluke; ilarimra Noble. Viola; Tom iStai'l. dotil'iinu 'is a sea captain ‘izii'l it pin-:0, iziil Stiirkuiuithrr 'ui‘d i’iiix' Suot' doubling its seamen ’0 ...-u- . and Hitti-i-i' .loitii l’etk. i‘onnle Kinuslo-y. Jt‘l'l\ Motion. and Larry \'aliti.-r.\imi'i- :is‘. tittirat'loi's pic- lturi-d; (2a)}. hills, illiVlii. ii t'tlllll- ttss; Kt-ii l. iii.i.iii. Fabian. ser- 5t't:‘il to (‘liViJL l‘unnui' i’iiiiiipa anti .illthit- l-‘iniim. itidn-s in wait- itit; to ()li\i.i. (i.ii‘_\ Nollie. Sebas- tiiiii. twin to Viola; and Mick Sher- 1‘“. Antonio. si-ii till'l'dlll. .\ matinee lit'l'ftll‘illiillt'i' will be ulwli on Thursday and invitations have lit'Pll «'Xlr'lltlt‘d to high school‘ students in surrounding towns to \it-‘.\ the llldt‘. i BI BLIOC-RAPHY 20h BOOKS AND PERIODICALS , Basic Catalogue ofP Plaza. New York: Samuel French, l9b6. hOl pp. Brooke, Tucker, John William Cunliffe, and Henry Noble NacCracken, editors, ShakespeareLg Principa;,Pla1§. New York: The Century Company, l92h. 957 pp. Chute, Varchette, Shakespeare'gg London. New York: E. P. Dutton and Company, 1959. 372 pp. Furress, Howard Horace, editor, A New Variorum Edition of Shakespeare, Volume XIII, Twelfth flight, or, What You Will. Philadelphia: J. B. Lippincott Company, 1901. 535 pp- Hazlitt, william, The Complete Works 2_,William Hazlitt, Volume h, Characters 2;,Shakespeare s glaze. London: J. M. Dent and Sons, Ltd., 1930. 0 pp. Jameson, Mrs., Anna Brownell (Murphy), Characteristic of Women. Boston: Houghton Mitflin and Company, 817 pp. Kittredge George Lyman Twelfth Night Qz_William Shakes cars, New lork: Ginn ana Company. 9 . 159 pp. Mackenzie, Agnes Mure, The women in Shakes eare' Plaza. London: William Heinemann Lt3., 192 . pp. Priestley, J. 8., The English Comic Characters. London: John Lane, The Bodley Head, 1937. 275 pp. RowbPetereon Pla s Catalo . Evaneton: Row~ M! Peterson Company, 1952.133 pp. Thaden, J. F. l'Potential Michigan Public School Enrollment”, Article fih-53,0 QuarterleBulletin, Volume 3h, Number h. East Lansing: Michigan Agricultural Experiment Station, May, 195?. pp. h56-h6 5 t’elles, Orson and Roger Hill, editors, The Mercurz Shakespeare. New York: Harper and Brothers, 1939. 223 pp. Welles, Orson and Eager Hill, The Hem urx Shakespeare, Twelfth Night. New York: Harper and Brothers, 1939. PP- 205 OTHER SOURCES Annual Dron-out Studz. Grand Ledge, Michigan: Grand Ledge Public Schools, 1952. Costume Fabric Revue, 17th Edition. Chicago: Mohaham Fabric Corporation, 1951. 15 pp. EAcos Catalogue. New York: Schoen and Crowe Lighting Equipment, #03 West h7th Street. #7 pp. qucational Statue 2; Adults. Grand Ledge, Hichigan: Grand Ledge Public Schools, 1949. Percentiles 25_California Mental Maturitx Test. Grand Ledge, Michigan: Grand Ledge Public Schools, 1953. Personal interview with Mr. Kenneth Beagle, Superintendent of Schools, Grand Ledge, Michigan, May, 1951. Plaxg Produced Q1_Thespian Trouges l 0- 1. Cincinnati: who National Thespian Society, 9 . Plaz Production§.g£ 1250-51. East Lansing, Michigan: Drama Division, Michigan Speech Association, 1951. Welles, Orson, Mercurz Iext Record , Tuelfth Ni ht, Columbia Masterworks Set 6-7. Vocal Music 32 Shakespeare's Fla 3 The - Twelfth Nigh . London: Samuel French, td.,’1§2 . 17 pp. APPENDIX £106 #08 West Jefferson Street Grand Ledge, Michigan March 23, 1952 Grand Ledge High school Thespiane Grand Ledge, Michigan Dear Thespians: we deeply appreciated our invitation to attend your presentation of 'fvelfth light'. To say we enjoy- ed it thoroughly seeae hardly enough. The settings were beautiful, the colorings were lovely. It seemed to us that all entered into their roles with sincerity, and 1 night add abandon. It was good to see a Shakespeare play again. nay you present many more! Again, our thanks. ' WWWJM 1. CAN. means. sass. Gm anon. vets ens LION "AVIS. sec-v one I. ccrv. tans me I. “It... "sons 9.07 swam 1’. cannot. GRAND LEDGE .... ,_ “matron..." PUBLIC SCHOOLS .. ”...... caauo Laces. momcau '"°"‘:?,‘§:ffi?: ':":': It: 15th. loos Ire. lirian lllis. Dranatics Depart-sat. Grand Ledge High School. Grand 50430. Michigan. Dear Ire. lllis: During the past several years. the draaatics depart-cut uder your supervision has produced aany cuellent stage productions. however. your effa‘ts in the presentation of the Shakespearean coaedy “Ewelfth light' reached a new high for Grand Ledge. his presentation not only brought to our school and comity a new and better appreciation of lhakespeare. but was a tribute to the careful planning. good organisatia. and direc- tion by you personally. the character portrayals. staging. and acetone work were all acct co-sndable. This type of production is particularly praiseworthy in view of the physical linitatioas that are part of our ccabinsd gyuasiu and aditoriun stege. I trust that the personal satisfactia that you have received froa this production any to partially retarding to you for the effort and tine expended. _——~— —s__.———__..— *4.— TWELF TH NIGHT by WILLIAM SHAKESPEARE Presented by THE GRAND LEDGE HIGH SCHOOL THESPIANS MARCH 21 8: 22, 1952 1 I CAST ()F CHARACTERS (in order of their appearance) Mux‘icians-_-- -_ -____-_ -_ ---- ---- -_ ---- ___- _ Dorothy () Ronn Nina Fests, a icstcr_-_._-__- -__- ____-_-_.____ H--. ---- Bob I The Duke of ()rsino __________________________ Jerry Valentine, attendant on the Duke _____________ _- Stuart Curio, attendant on the Duke _____ ---- ---- -. __ Roger f Viola--_- -___-___ ---- ---- ---- .--- ---- ---- -_ Barbara A sea captain ________________________________ __ 'l'ot Seamrn ........... ,. ___________________ -_ Bill Stz'rki Dic Sir 'l'ob)‘ Brich-__- ---- ---- --- ---- ---- _ --. - __ joh Av'iaria____ ------ ---- ------ ---- - ........ - C(Hlnlc' K Sir Andrew Auncchcrk ........................ .lrrty ()livia,acountc~s --.-__-___----.-_-_- ----_-_ (iay Malvolio, Steward to Oliviauu ---- ---. ---- Larry Vanda Fabian, servant to ()livia ___________________ --- Ken I Ladies in waiting to ()livia-__-_- -- _. ---- ---- __ Eit‘anm Jackie Sebasuun. twin to Violza ------_._......_-.._- ---- ---- (Ian Antonio, a sea captain ....................... Dick Hficrrs ................................... B.” Starla Dic Apriest--._____-_-- -. ..... -------__---_-_-__ To: RAC'I'ERS appearance) ......... Dorothy ()Vt‘rhult Ronnie Moe Nina Husterl lloh Drtxler Jerri Huuuh Stuart blieliy Roger llewson ...... llathara Noble 'l‘om Stalk Bill Sttrkweather Dick Scntt john Ptt‘k --. --- Connie K” U‘ld lerry l‘inrtll'” (iayla |)til~ Larrv Vanrlchocre Ken Lehman Eleanor Phillips lurk" Finney‘ (;af\ ;\'Hl)lt‘ Dick Sheren B.” Starku'eather Dick 5C0" --‘——v. . Tom Sfflrk SYNOPSIS OF SCENES ACT [ Scene 1. lllyria. An apartment in the Duke's palace. Orsino, the young romantically handmme Duke of lllyria, in love with love, aIHUSc‘S himself with sad music. because the lady Olivia, in mourning for the death of her father and brother, will have none of him. Seene 2. A SeaCoast. Viola, orphaned daughter of a wealthy Citizen of X'lessaline, reaches lllyrta alter a shipwreck in which she had lmt her twin brother Sebastian and all her QUSSC’SJUHS. She determines to dtg~ui>e herself as a boy and take employment with the Duke ()rstno. Scene 3. A room in ()Ii‘ia's house. Sir Toby Belch, uncle to the lady ()ltita, spends his time in idle sport with Maria, ()ltvta’s maid, and Sir Andrew Aguecheek, an unsuccessful surtor to ()lttia. Scene 4. A room in the Duke’s palace. Viola, who Is now disguised as a page boy to ()rsino, is sent by him to speak hts‘ words of love to the lady ()livia. .‘cene 5. Olivia's garden. Viola appears before the lady Olivia, who believing her to he a young man, falls in love. Scene 6. A street. St‘l‘éhtidll, Viola's twin brother, reaches lllyr.a in the Company of Antonio, a sea captain. ‘Cene 7. A wine cellar in ()livta‘s house. A midnight carousal |\ interrupted h_\' .\Ialvolio, and a plot is laid to trick him into making a fool of himself. Aer ll Scene 1. Before the Duke’s palace. Once more the Duke sends Viola to sneak hrs love to the lad, ()livia. Scene 2. Another part of ()lnla’s garden. Maria trick~ \lalvolto with a letter which he l)t‘ilr\.'es to be a .srcret declaration of lrn'e from ()livm. .‘Ceiie 3. Another street. Antonio, who fears arrest a' enemy, gives Sebastain his purse. and a'ranges to later. .‘cene 4. ()lwia’s garden. Sir Toby and i‘i'dlilall persi Andrew to duel utth Viola. The duel is interttiti! Antonio who mistakes Viola for her twin brother Antonio is apprehended by the police, and Viola them to learn of her brother Sebastian, SCeiie 5. Sebastian encounters Sir Andrew, and IS in for his sister. ()llV‘la, too, mistakes him for the l page boy. SCeiie (i. .\ialvolio. believed by ()liVia to be mad. is iii his prison by Maria, Toby and l‘ieste. Scene 7. Olivia makes arrangements for her \u-dd Sebastian most willingly talls in \\‘lll1 her plans. Scene S. The twins meet. and Confusion is resolve The Grand Ledge High School Thespiati T number 356 is a member of the National Thespian Honor Society "fritiltl, “ho fears arrest as ()rsmn's ll" l‘llr‘t'. and a'raiiges to See him ‘tr l'ohi fllltl Fabian persuade .‘H ~:a. 'l‘iie duel is Intt'rtlinetl by \iola for her t\\ in brother. In the p nice, and Viola tolloits 'her Sebastian. «'s .‘lr Andre“, and is mistaken 1, liilstakes hlln tor the Duke's i l ‘ by ()lH‘M to be mad, is tormented 1. labs and l‘ieste. ' ' ' l Jed ' .ingcnieiits tor ier \iec my and rails 1.1 iiith her plans. and confusion is resolved. Igl‘l School 'l‘lit‘fiilan rrntipe nher 356 the National l‘hespian nor Society 20? lnrspnn h we Vbl. I, No. 1 207 EUR —.-—-.*-— -G.L. H's. March 21. 22, 1952 6. l.'. Thespions Show long History Of Success Thonks,Fnends So many people have helped us we'd have dif~ - ficulty listing them all. Our grateful appreciation goes to Fortino's for the use of their truck in transporting furniture. to Mr. Hooker, who upholster- ed a footstool, to Knapp's display department for drapery material, to Olds- mobile Engineering Divi- sion for use of black cur- tains, to Mr. Deuel, who helped us hang curtains, and to Mr. Beagle for his understanding, co-opera- tion, and patience .with us. ABOUT C’UR Pic TURES The photographs of the cast which have been on display for the past two weeks are the work of our ‘ director's husband, Mr. Herman D. Ellis. Mr. El- lis is an educational mo- tion picture producer. He recently filmed a motion picture with members of the Lansing Civic players serving as the cast. WELCOME THESPIANS A number of high school Thespians from other schools are usually pres- ent in our audiences. We are glad to have them see our shows, and we welcome them backstage after the performance. It's a pleasure, too, to welcome backstage the GLHS Thsspians of previous years. vJection ' tents s Thesoions Hove Active Year September found six Nap tional Thsspisns enrolled in Grand Ledge High School. The in-school Thespian club was organised with Larry Vanderosrs as pres- ident. The club has vis- ited the Sun Theater pro- room, enjoyed talk: on T.V. acting and T.V. career possibilities by George Wes Lambert, MSG students. Three trips have been taks en to see Lansing Civic Players productions. On February 20, several Grand Ledge students enjoyed a trip to MSG which included a visit to the T.V. studio, WKAR studios. stage works shop, and the term play, as Withggt a $22“ . To'lk e A Bow 'Stegige Crew A most efficient stage crew Operated behind the scenes tonight. Bob Faull serves as stage manager, with Dick Sheren and Bur— ton Fooker as his assis- Delores Nelson is property chairman and Joyce Merrill serves as wardrobe mistress. Every member of the cast becomes a member of the stage crew. making spift and smooth (we hope) scene changes. Connie Forsen heads the make—up commit- tee composed of members of the class in Dramatic Arts. Latchford and- .and seWing. Tonight's performance of TWelfth Night is only one of, a number .of fines plays. performed by the students of Grand Ledge High School.‘ Little could .be learned of the history prior to the formation of the Grand Ledge troupe of National Thespians in lggg. Since that time fairly complete records have been kept. Thus we are able to remind "old timers" in our audience of such plays as Ice Bound, Little Women, Y ' T th You, Shires...K§19__ie_Bnldpai2. 'andL'sLenmsnLQlLLags. Outstanding students in dramatics in those earlier days of the Thespian troupe were Marilyn Bendell,Janet Doty. Carroll Harrod,Bruce Kingsley, Don Forward,Neal Tocner, .Curtis Wheaten, Clarabelle Toaz, and Mar- Jorie,Frits. Students Earn Thespiors Pomts Every stage production is the result of many hours of planning. carpen- try, painting. decorating, The Dramatic Arts class, Thespians and Thespian understudies have worked hard to make at- tractive settings for Twelfth Night. , Students earn points to- ward Thesoian membership at the rate of one point for every ten hours of work. Ten points, repre— senting 100 hours. are re— quired for national Thes~ pian membership. 'Page 2 / MANY THANKS M. 5. C. The drama department of Michigan State College has been most helpful in to- nights production. Mr. Don Buell, department head,who watched our first run— through in February, 'gave many helpful suggestions to Mrs.Ellis and the cast. Mr. Jennings, acting de— partment head, assisted us at a later rehearsal. Mr. Dorsett, scene design spe- cialist, served as a con-. sultant on our setting. Miss Roselle Glubh, a.stuv dent teacher at Greenwood elementary school has give- en fencing instructions. Mr. Frank Bredly, student teacher with Mrs. Ellis, has been most helpful with makeup instructions. Mr. Chris Klinedinst who was stage manager for the col- lese Productionfiaaalflhr QEQLIIBPE. has assisted with painting. Our Dire eotor And Sponsor Miriamifillis, our thes- pian sponsor and director, of tonights show comes to us with a good bo.ckground in Shakespearean drama. .A graduate of Milton College, Wisconsin, noted for its Shakespearean tradition for 50 years, she has act- ed infiseveral Shakespear— ean plays. She is current- ly taking work on her mas- ter's‘ degree in drama at Michi a State College. Gran Rapr Crvrc Theater Lends a Hand The furniture used in tonight‘s show is on loan from our Grand Rapids friends. Mrs. Frank Ta- trean, James Mitchell and Jean Collins showed our production manager and his. assistant their workshop and pack stage area. ...—.... Amhespiangflgws Letter March 2;_,_g,2, 1252 , MUSIC .SPECIALLY ARRANGED Musical arrangements,wind instruments,and vocalists are by Dr. J. Murray Barbour of Michigan State College. 1.3.3:." 6 emmw Less is Dr. Berbour's original setting of a papular song of the Elizabethan period. Our own Tom Perfitt is behind the scenes as guitar— ist tonight. This is the second time Tom has lent his' musical talents to a Thespian production. His guitar will be remembered on "Showpick's own song" in the Great Big Doorstgp. Mr. Moe has assisted us by the woodwind trio. Mr. Thompggp has taught FESTE'S SONGS _ Act 1, scene I Come Away Death Come away, death, .And in sad cypress let me be laid; . a Fly away, fly away} breath; I am slain by a fair cruel maid. . My shroud of white, stuck all with yew, O, prepare it: My part of death, no one sotmm Did share it. A Not a flower, not a flower sweet, On my black coffin let there be strewn; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown. A thousand, thOusand sighs to save,, .. Lay me, 0, where . Sad true lover, never find my grave, To weep there! Act I, scene 7 o Mistress Mine;.'. 0, mistress .mine, where art thou roaming? 0, stay and hear; your true love‘ s coming. T—i Thanks to Shirley.Acker and Polly McCrimmon of the [Eournalism class and Miss , ouma for publishing this jNews Letter. Gilbert has coached the singer.Miss the dancers. That can sing both high and low; Trip no further pretty sweating; Journeys end .1n lover's meeting, Every wise man‘s son doth knOW. What is 'love? 'tis not hereafter; ' Present mirth hath present laughterg. ' . What's to 'come is still unsure; ‘ In delay there lies no plenty; ‘ . Then come kiss me, sweet ' and twenty, Youth's a stuff will not ' endure. Act II, scene 8 The aaTheLlJiesaldttla . .....nLTi 1.3.91. When that I was and a lit— tle tiny boy, With hey, ho, and the rain, the wind A foolish thing was but a tOYs For the rain it raineth every day. ‘ A great while ago the world begun, With hey, ho, the wind and the rain, But that's all one, our play is done, . . And we'll strive to please you every day. I l I? J v; : -. l. n ,1 fig: 8 ‘6 s . Y , txamficdvcrmma M'TITI'filflfitLfiMNflfi!flfijlflflfljlfllflyflfiolmfl”