Illustrations
and Forms
Figure 2.1. Vaudeville Show Announcement Sample.
VAUDEVILLE!
A DAZZLING DISPLAY
OF
HETEREOGENEOUS SPLENDOR
Designed to Educate, Edify, Amaze, and Uplift
Illustrations
and Forms
Figure 2.2. The Veritas Vaudeville.
T h e V eritas V audeville
an elevated entertainment, designed to educate, edify, amaze, and uplift!
Veritas students in grades 7–12, their parents, and their teachers are encouraged to
offer their talents and services.
If you wish to participate, return this VAUDEVILLE SIGN-UP SHEET to the
school office by October 19.
Each act will take between 3 and 10 minutes, and will not require much rehearsal or
memorization. We rely on your previous experience and unparalleled talent!
When we know what those talents are, we will do a “quality control” type of
audition, to prevent embarrassment beyond the call of duty.
Script materials will be provided . . . and if you know of any to recommend, keep in
mind that the time period is pre-1920. Questions? Call Bettyann Henderson, director.
Student Name: ______________________________________________ Grade: ______
Phone: __________________________________________
(Check all that apply)
I can . . .
¨ ride a unicycle
¨ perform magic tricks
¨ juggle
¨ tap dance
¨ dance ballet
¨ play an instrument: _______________________________
¨ sing
¨ speechify
¨ act in a skit
¨ deliver a dialogue
¨ other: _______________________________
I can . . .
¨ haul sets and props
¨ paint sets
¨ design sets
¨ put up posters
¨ host a rehearsal
¨ do makeup
¨ style hair
¨ coach with skits, dances, and songs
¨ help with costumes—design, shop, create, manage
¨ take tickets
¨ be an usher
Illustrations
and Forms
Figure 2.3. Audition Form.
Veritas School’s
Festival Of One-Act Plays
Audition Form for Actors, Grades 7–12
Must be returned to the “Drama” box in the office by September 9,
signed by student and parent/guardian
What
Auditions
Companies posted
First read-throughs
Production week
Dress rehearsals
Evening performances
Matinee performance
Date & Date
Sept. 11 (Thurs.)
Sept. 12 (Fri.)
Sept. 12–13
Nov. 12–22
Nov. 17–19
Nov. 20–21
Nov. 22
Time
3:15–5:30 p.m.
8 a.m.
TBA
4–8 p.m.
5–10 p.m.
12–5 p.m.
Location
Fellowship Hall
Office Window
Music Room
First Friends Church
First Friends Church
First Friends Church
First Friends Church
Casting decisions and rehearsal schedules will take into consideration the
information you provide on this sheet about your availability. See the calendar
on back of sheet, and list dates, days and times that are excluded because of prior
commitments, including scheduled activities such sports, piano lessons, work hours,
etc.
Student Name: ______________________________________________ Grade: ______
Phone: __________________________________________
Parent/Guardian e-mail: __________________________________________
I understand that if I audition, I am not guaranteed an acting role. If cast, I commit to the
following:
• I will attend all rehearsals for my part in the play (maximum of 3 each week).
Availability information you give will be considered before the schedule is set.
• I will work to be off-book by October 15.
• I will be available for extra dress rehearsals during Opening Week (November 17–22).
If I am negligent in these responsibilities, or disrespectful to other cast members or the
production itself, I can be replaced at the discretion of the directors.
Student Signature: ___________________________________________ Date: ___________
Parent/Guardian Signature: ____________________________________ Date: ___________
*This means having all of your lines memorized.
107
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Figure 2.4. Audition Agenda.
Festival of One-Act Plays
Audition Agenda
3:00–3:15
Stage manager hands out calendar with everyone’s prior commitments.
Students make any additions or corrections and return them.
3:15–3:30
Welcome! First task: nonverbal communication only, students create/do the following:
¨ o ne big circle by alphabetical last name (take attendance);
¨ o ne long line by height, show facial expressions as directors call out emotions to show
without any noises (e.g., happy, nervous, hopeful);
¨w
alk in circle, demonstrate posture and movement that communicates emotion and
physical condition of an announced condition (e.g., hungry, cold, thoughtful).
3:30–3:45
Description of companies and tech crew
¨ Companies for Antigone, The Tall Stranger, Blindspot
¨ Tech crew
• Artists: design sets, festival logo, stage props
• Builders: build sets and props, prepare for them to be set up and broken down
during the show
• Foragers: find/make costumes, locate and manage props
• Promoters: place posters
• Salesmen: ads (goal of $2,500)
• Hairdressers/makeup artists: create and prepare for character looks
3:45–4:00
Projection, pronunciation, and presence
¨A
ll students create as large a circle as space permits. Each person has a partner across
the diameter of the circle.
¨ Partners exchange simple dialogue (e.g., Q&A, bland words delivered with flair).
4:00–4:30
Dramatic interpretation (index cards prepared with bland dialogue)
¨ In pairs, read dialogue to show very different meanings by voice inflection.
¨ Then, read dialogue with added nonverbal interpretation.
4:30–5:15 Preparation and presentation
¨ Divide everyone into three groups.
¨ Hand out excerpts from each of the three plays.
¨ Assign experienced students to develop and present a scene with a group of younger students.
5:30–5:55
Directors’ choice
¨ Each director has 15 minutes to work on particular skills with specific students.
6:00
108
Dismiss with congratulations. Announce when and where cast list will be posted.
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Figure 2.5. Example of Ushers’ Instructions for Directing Traffic.
COLLEGE STREET
Times are approximate to length of plays.
TICKET ENTRANCE,
DOOR 1
parking
Upstairs: SANCTUARY
Father Brown
wheelchair ramp
DOOR 2
Downstairs: SOCIAL HALL
Ages Ago
offices
parking
BARKLEY BUILDING
Actor’s Nightmare
Track A: 60 or half of expected crowd
1. Begin promptly at 1 p.m. upstairs
2. Move directly downstairs
3. Move directly via door 2
Father Brown
Ages Ago
Actor’s Nightmare
1:00–1:25
1:30–2:00
2:10–2:50
(25 minutes)
(30 minutes)
(40 minutes)
Track B: Second half of expected crowd (including latecomers)
Actor’s Nightmare 1:10–1:50
1. Begin LATE at 1:10 p.m. in Barkley
2. Move directly via door 1
Father Brown
2:00–2:25
3. Move directly downstairs
Ages Ago
2:30–3:00
(40 minutes)
(25 minutes)
(30 minutes)
NOTES:
• There should be two ushers for each audience: a leader to direct the audience to the next play, and
one to follow the crowd.
• Actor’s Nightmare needs ushers to groan, take flash photos, and turn out the house lights on cue.
• Before the show, tear tickets at the door; audience members keep one half, the other half is placed in
a manila envelope.
• After the show, pick up any remaining programs (keep) and toss trash.
• There is an expected audience of 120 for each performance. Please count the ticket stubs in the
manila envelope at the end of the night.
109
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Figure 2.6. Crew & Co. Student Application Form.
Crew & Co.
Student Application Form
Please return to the “Drama” box in the office,
signed by student and parent/guardian
I am applying to be a member of Crew & Co.
I understand that for every hour I work, I will receive “payment” of 1 Crew & Co. credit per hour.
My Crew & Co. credit will be held in my own Crew & Co. account and can be redeemed for my
own expenses in the Drama Department (e.g., rehearsal T-shirts, free tickets to plays, scholarship funds
for drama field trips).
Student Name: _____________________________________________ Grade: _________
Phone: ___________________________________________________________________
Parent/Guardian e-mail: _____________________________________________________
If “hired,” I commit to the following:
¨ I will show up when I promise to, and I will accomplish the work assigned.
¨ I will fill out the paperwork to assure I receive the fair amount of Crew & Co. credit.
¨ I understand I cannot “spend” my Crew & Co. credit for anyone but myself.
If I am negligent in these responsibilities or disrespectful to other Crew & Co. members, or to the
production itself, I can be dismissed at the discretion of the directors and adult supervisor.
Student Signature: ____________________________________________ Date: _________
Parent/Guardian Signature:______________________________________ Date: _________
110
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Figure 2.7. Crew & Co. Workshops.
Crew & Co. Workshops
The purpose of these classes is to offer practical training throughout the year in areas of interest
to a variety of students. The skills taught are necessary to promote and sustain the school’s drama
cocurricular program.
Capture It! – Videography
Professional training plus ongoing supervision and assessment. Assignments throughout the year to
film school activities.
Servant Salesmanship – Ads
Professional training plus ongoing supervision and assessment. Assignments throughout the year to sell
advertisements, promote sponsorships, and manage food sales during lunchtime twice a week.
Peer Prep – Stage Managers
Professional training with opportunity to stage-manage student productions.
Fisticuffs – Combat
Three classes taught by a professional stage-fight choreographer.
Have at You! – Sword Fighting
Five classes taught by a certified professional stage-fight choreographer.
Optical Illusions – Set Design
Five classes taught by an experienced stage designer.
Crowd Pleasers – Refreshments
One session each month. Students provide suggested ingredients and kitchen supplies. Depending on
the size of the class, food is donated or sold.
Dress It Up – Costumes & Props
One session each month. Field trips to costume collections, shopping safaris. Students learn the
history of costume, simple design, and creation.
Vintage ’Dos – Hairdressing
One session each month taught by a professional hair designer.
Making Faces – Makeup
One session each month taught by an experienced makeup designer.
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Figure 2.8. Crew & Co. Student Jobs.
TASK
STUDENT CREW & CO.
Estimated TIME
Costume Manager
Costumes
T-shirts
Video
Hairdressing
Makeup
Props Manager
Photography
Ushers
Coordinate collection and management of costumes
Find or create costumes
Take orders, arrange with T-shirt supplier
Help with video production
Design, arrange historically accurate hairstyles
Design and apply actors’ makeup
Coordinate collection and management of props
Promotion and program photos
Assist audience
10 hours @ show
flexible
2–3 hours @ show
flexible
2–4 hours @ show
6–8 hours @ show
3–12 hours @ show
3–6 hours @ show
9 hours @ show
Figure 2.9. Crew & Co. Adult Supervisors and Helpers.
TASK
Telephone Liaison
Ads Liaison
Ad Team
Costume Manager
Costumes
Video Production
Ticket Promotions
Program Genius
Props Manager
Publicity
Publicity Drivers
Set Designer
Set Construction
Set Movers
Food Planner
Food Providers
Cast Retreat
Hairdressing
ADULT SUPERVISORS & HELPERS
Communicate between volunteers
Coordinate between sales, publication, and payment
Recruit, train, drive, and supervise students to sell ads
Coordinate collection and management of costumes
Find, create, mend, and iron costumes
Plan, instruct, film, and produce video of shows
Coordinate ticket sales with office staff, Crew & Co.
Coordinate, design, and print multipage program
Coordinate collection and management of props
Coordinate poster campaign
Drive and supervise students to place posters
Design set, plan construction/dismantling of set
Work with set designs
Pick up/deliver/set up furniture, set blocks, flats
Plan, coordinate rehearsal meals and refreshments
Prepare and deliver audience refreshments
Collect student info, purchase food, prepare meals
Design, arrange historically accurate hairstyles
Estimated TIME
flexible
20 hours per year
2 hours per every 3 weeks
10 hours @ show
flexible
6–20 hours @ show
2–4 hours @ show
unspecified
3–12 hours @ show
3–6 hours @ show
2 hours @ show
3–12 hours @ show
6–14 hours @ show
2 – 6 hours @ show
2 –12 hours @ show
2 hours @ show
2 hours to 3 days
2–4 hours @ show
Figure 3.1. Production Manager’s Recommended Timeline.
Production Manager’s Timeline
Before Auditions
1. Meet with director to discuss theme and design elements needed (costume, set, props, makeup,
hairdressing, music).
2. Establish a budget; begin advertisement and sponsorship sales.
3. Secure performance rights from publisher.
4. Select and meet with designers to plan time and resources (human and financial).
5. Choose performance venue and negotiate terms (dates, use fees, set limitations).
6. Choose a logo design for posters, T-shirts, and printed programs.
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Figure 3.1. Production Manager’s Recommended Timeline (Continued).
7. Plan the cast retreat.
8. Host an information time available to parents, teachers, and students.
9. Promote interest among potential students (actors and crew).
10. Print and distribute audition forms and Crew & Co. sign-up sheets.
After Auditions
1. Post the company of players list.
2. Host a meeting with parents of cast and crew for directors and designers to inform and solicit
help, including ad and sponsorship sales, photography, and videographer.
3. Create a production calendar of rehearsals and crew assignments; include snacks and meal
options.
4. Complete advertisement and sponsorship sales campaign. Send bills or receipts.
5. Plan the printed program, check with designer and printer.
6. Choose and train the house manager.
During Production Weeks
1. Oversee promotion—print and distribute posters, contact local media, write announcements
for school or group newsletters, and establish a social media event page.
2. Arrange for T-shirt design and sales to cast and crew.
3. Check with directors and designers weekly for progress updates, including budget and
volunteer needs.
4. Communicate with parents often via group e-mails.
5. Communicate as needed with venue host, plan move-in and storage needs.
6. Oversee information for the printed program (volunteer help, director’s notes, late ad sales,
photographs).
7. Print tickets and establish ticket sales campaign, including costumed performance(s) of play excerpts.
8. If the video rights can be secured, print order forms for DVDs.
During Performance Week(s)
1. Track ticket sales.
2. Plan strike assignments—assign who will sort costume and props, disassemble set(s), move
furnishings, load and unload trucks, and drive trucks to return/storage destinations.
3. Plan cast party.
4. Encourage, encourage, encourage!
After Final Performance
1. Strike set.
2. Hold cast and crew party—enjoy food, share memories and report positive feedback from
audience, write thank-you notes to venue host, designers, directors, sponsors, advertisers,
media, etc.
3. Complete storage and return of costumes, props, supplies, etc.
4. Visit businesses to remove posters; deliver thank-you notes, bills, or receipts; and provide
printed programs to advertisers.
5. Turn in ticket and miscellaneous revenue, receipts from designers. Request reimbursements
from the school.
6. Check with videographer for release of (legal) DVDs.
7. Submit budget report (income and expenditures) to the school.
8. Take a week off to relax and recover, and then begin planning the next season’s project.
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Figure 3.2. Director’s Recommended Timeline for Full-Length Play.
Director’s Timeline
9. Select Script (3–12 months before opening)
a. If copyright protected, order copies, secure permission, pay royalty.
b. Divide into French scenes, optional combat/choreography; prepare the stage manager’s
prompt book.
c. Develop primary theme, establish location and time period.
10. Consult with Production Manager (3–6 months before opening)
a. Design set, furnishings, floor plan, optional 3D miniature set, and light design (3–12 months).
b. Make sure logo and promotional artwork is planned or complete, and the production is
publicity ready (1.5–2 months before opening).
c. Plan costumes, props, hair and makeup, and optional refreshments (2–4 months before
opening).
11. Choose the Company of Players
a. Hold auditions (3–4 months before opening).
b. Complete first read-through, develop character relationships (first week after auditions).
c. Refine character and scene development; plan optional cast retreat (within 1–2 weeks
after auditions).
d. Assign roles.
12. Rehearsals
a. Publish a calendar of all rehearsals (1 week after casting).
b. Block rehearsals; plan combat/choreography if needed (within 1–4 weeks after casting).
c. Hold acting rehearsals (within 3–4 weeks after casting).
d. Hold technical rehearsals, including props and costumes (2 weeks before opening).
114
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Figure 3.3. Character Analysis Worksheet.
Character Analysis Worksheet
Answer these questions from an objective point of view, outside of your character. 1. Write out the lines that answer the following questions about your character:
a. Who is this character? ___________________________________________________
b. How old is he/she? _____________________________________________________
c. Family? ______________________________________________________________
d. Background (place of birth, where he/she grew up, etc.)?
______________________________________________________________________
e. Relation to other characters? ______________________________________________
f. Financial situation? _____________________________________________________
2. Write out the lines that answer the following questions:
a. How is your character perceived by other characters?
_____________________________________________________________________
b. What are your character’s hopes and aspirations?
_____________________________________________________________________
c. What are your character’s fears and doubts?
_____________________________________________________________________
3. List several ways to portray motivations. (How can you help the audience see the thoughts
of your character’s mind?) _______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
4. What facial expressions cue the audience of your reactions?
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
5. List several ways to portray each of your reactions, subtle or obvious (body and voice).
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
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Figure 3.4. Scene Analysis Worksheet.
Scene Analysis Worksheet
Answer from your character’s point of view:
1. For each entrance of your scenes, answer the following questions:
a. Where are you coming from? _____________________________________________
b. Where have you been? __________________________________________________
c. How long have you been gone? ___________________________________________
d. What have you been doing since your last scene? ______________________________
2. For each scene, answer the following questions:
a. What do you expect to find? What, if any, surprises occur? _______________________
b. What do you think of these unexpected events, and reactions from others (positive,
negative)? ______________________________________________________________
c. What changes do you intend to make in reaction to events? ______________________
d. How do you perceive your appearance affects those already on stage? _______________
3. For each scene, write out the lines that answer the following questions:
a. How are you perceived by other characters? __________________________________
b. What are your hopes and aspirations? _______________________________________
c. What are you fears and doubts? ___________________________________________
4. For each exit of your scenes, answer the following questions:
a. Why are you leaving the scene? ____________________________________________
b. Where are you going? ___________________________________________________
c. What do you intend to do next? ___________________________________________
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Figure 3.5. Compatible Rehearsal Scenes: The Importance of Being Earnest.
a
rrim
Me
n
e
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
Lane’s preparations
Aunt Augusta’s tea
Jack’s proposal
Lady Bracknell’s questions
Gwendolen’s rebellion
Lan
x
x
x
x
x
.
Dr ble
a su
Ch
rism
ss P
Mi
x
x
x
x
x
x
cily
Ce
x
x
x
x
x
x
n
x
x
ole
end
Gw
y
Lad nell
ck
Bra
k
Jac
on
I-1
I-2
I-3
I-4
I-5
ern
I-1
I-2
I-3
I-4
I-5
II-1
II-2
II-3
II-4
II-5
II-6
III-1
III-2
III-3
III-4
III-5
III-6
Pages
6
2
2
3
3
2
2
2
3
2
4
5
2
3
2
6
6
Alg
Character
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
II-1
II-2
II-3
II-4
II-5
II-6
x
x
x
Cecily’s lessons
Hypocrisy
Deep mourning
Joyful tidings
A gentleman’s duty
Algernon’s proposal
x
x
x
x
III-1
III-2
III-3
III-4
III-5
III-6
x
Merriman’s attendance
Sisters
Muffins
Repentance
Bunbury’s demise
Ernest after all
Sharing the Stage in French Scenes:
II-5, III-3
Algernon, Jack, Merriman
III-2Algernon, Jack, Gwendolen, Cecily
II-2, II-6 Algernon, Cecily, Merriman
I-1
Algernon, Jack, Lane
I-5
Algernon, Jack, Gwendolen, Lane
I-4 Jack, Lady Bracknell
I-3
Jack, Gwendolen
I-2Algernon, Jack, Lady Bracknell,
Gwendolen, Lane
II-1
Cecily, Miss Prism, Dr. Chasuble
II-4, II-3Algernon, Jack, Cecily, Miss
Prism, Dr. Chasuble
III-4Algernon, Jack, Gwendolen, Cecily
III-1 Gwendolen, Cecily, Merriman
III-5, III-6Algernon, Jack, Lady Bracknell,
Cecily, Miss Prism, Dr. Chasuble,
Merriman
117
28
21
14
7
30
CHOIR 4
John 3–6; Tara 5:30+*
Tyler 7+
Oliver, Tara
Christmas Break
Oliver, Tara
Christmas Break
30
Oliver, Tara
Christmas Break
29
Oliver
Christmas Break
John 3–4
23
16
9
22
John 3–4
15
3–5 Bracknell, Jack
8 John 3–4, Bethany
Christmas Break
Oliver, Tara
31
Christmas Break
Oliver, Tara
24
Christmas Concert
17
10
3–5 Jack, Algernon
Melissa;
Tara; Melissa, Annie 4+
3–4 Bracknell, Prism,
Chasuble
3–6 Algernon, Cecily
3
2
Annie, John 4–6; Tara,
Melissa 6:30+
Wednesday
Dec. 1
Oliver 4–6; Tara 5+;
Annie 6–9
Tuesday
Monday
Christmas Break
Oliver, Tara
Jan. 1
Christmas Day!
25
Bethany
18
11
Melissa
4
CHOIR 4; Tara, Oliver
4–6; Melissa 7+
Thursday
Rehearsal Schedule
OFF-BOOK
Christmas Break
Oliver
2
Christmas Break
Oliver, Tara
26
19
12
ALL CAST 3–8
Melissa; Annie
5
Tara 5:30+
Friday
(adjusted to actors’ excused absences as reported on their audition forms)
Christmas Break
Oliver, Tara 3
3
Christmas Break
Oliver, Tara
27
Tara
20
Tyler, Tara ACT (am?)
Bethany
13
Annie, John 1–6
Melissa, Tyler SAT (am?)
Potluck Brunch, snacks
ALL CAST 9–3
6
bring snacks & $5
ALL CAST 12–8
Nov. 29
Saturday
*T he times next to student names indicate the hours during which those students have secured a prior excused absence. The plus sign (+) next to times indicates a
student is unavailable from that time onward. Student names listed without a time indicate that the student is excused for the entire day and cannot be scheduled
for a rehearsal.
118
Sunday
Figure 3.6. Rehearsal Schedule.
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8
Feb. 1
25
18
11
4
FINALS
NO SCHOOL
10
Earnest pick-up at
school
John 3–4
Dress rehearsal at Kelty
Estate
Dress rehearsal at Kelty
Estate
9
3
11
Rehearsal TBA at
Kelty Estate
4
3–8 Scenes as needed
Tyler?
3–8 Scenes as needed
2
28
27
FINALS
21
3–6 Lane, Jack,
Algernon
14
ALL CAST 3–7
7
26
Oliver
10–6 Earnest at Kelty
20
4–5 Bracknell, Cecily,
Algernon
3–7 ALL CAST
19
13
6
12
John 3–4
3–6 ALL CAST
5
10–5 ALL CAST
FINALS
PERFORMANCE
Earnest
Earnest
Earnest
CLOSING
PERFORMANCE
14
Earnest
Earnest
13
PERFORMANCE(S)
PERFORMANCE
7
3–8 scenes as needed
ALL CAST 3–7
6
10–3 ALL CAST
31
1–8 ALL CAST runthrough
10–1 Act III
CEILI (TBA)
30
PERFORMANCE
12
OPENING
PERFORMANCE
Earnest
5
3–8 Scenes as needed
29
6–9 Act II
4–6 Act I
FINALS
Tyler
Tyler
FINALS
23
6–9 Act II
24
Melissa
CHOIR 4:30
4–6 Act I
17
Rehearsal at Kelty Estate
10–5
10
16
ALL CAST 3–8
9
22
15
8
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Figure 3.7. Blocking Notes: The Book.
Importance of Being Earnest
ACT 1 Algernon’s London Flat
Front door
mirror
PROP: cigarette case
bell
settee
Garden exit
Kitchen exit
X
Chair left
120
X
Tea table
X
Chair right
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Figure 3.8. Blocking Notes: Actor’s Script.
Lane’s Preparations I-7
Jack. Oh, that is nonsense!
Algernon. It isn’t. It is a great truth. It accounts for the extraordinary number
of bachelors that one sees all over the place. In the second place, I don’t give my
consent.
walk around to bell
Jack. Your consent!
Algernon. My dear fellow, Gwendolen is my first cousin. And before I allow you
to marry her, you will have to clear up the whole question of Cecily. [Rings bell.]
go to bell
Jack. Cecily! What on earth do you mean? What do you mean, Algy, by Cecily!
I don’t know anyone of the name of Cecily. [Enter Lane.]
from Kitchen R
eat B&B
Algernon. Bring me that cigarette case Mr. Worthing left in the smoking-room
the last time he dined here.
Lane. Yes, sir. [Lane goes out.] Garden L
Jack. Do you mean to say you have had my cigarette case all this time? I wish
to goodness you had let me know. I have been writing frantic letters to Scotland
Yard about it. I was very nearly offering a large reward.
Algernon. Well, I wish you would offer one. I happen to be more than usually
hard up.
Jack. There is no good offering a large reward now that the thing is found.
[Enter Lane with the cigarette case on a salver. Algernon takes it. Lane exit.] Kitchen R
Algernon. I think that is rather mean of you, Ernest, I must say. [Opens case
and examines it.] However, it makes no matter, for, now that I look at the
inscription inside, I find that the thing isn’t yours after all. move down to settee
cross R in front of table
Jack. Of course it’s mine. [Moving to him.] You have seen me with it a hundred
times, and you have no right whatsoever to read what is written inside. It is a
very ungentlemanly thing to read a private cigarette case.
Algernon. Yes; but this isn’t your cigarette case. This cigarette case is a
present from someone of the name Cecily, and you said you didn’t know anyone
of that name.
Jack. Well, if you want to know, Cecily happens to be my aunt.
Algernon. Your aunt!
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Illustrations
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Figure 5.1. Themed Menu.
Tuscan Basket Supper Menu
Semelln (Tyrolian roll)
Landjaeger (Bavarian pepperoni)
Hand-picked estate fruits
Asiago & Provolone (Italian cheeses)
Biscotti (Tuscan cookie)
Scholarship water
Wine & Juice available for purchase
Figure 6.1. Festival Graphic.
Designed by Cornelius Hegeman, 2008. Used by permission.
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Illustrations
and Forms
Figure 6.2. Sample Promotional Art.
Figure 6.3. Sample Logo.
Designed by Kitty Touzeau, 2007.
Used by permission.
Designed by Kitty Touzeau, 2007.
Used by permission.
Figure 6.4. Menu for a High Tea.
Tea Menu
Yorkshire Gold tea with milk, sugar
Cucumber sandwich with herb butter
Bacon & tomato sandwiches
Lemon curd tart & English toffee bar
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Illustrations
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Figure 7.1. Stage Geography.
Upstage
Centerstage
Downstage
Right
Right
Right
Right
Center
Right
Center
Right
Center
Up
Center
Center
Down
Center
AUDIENCE
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Left
Center
Left
Center
Left
Center
Left
Left
Left
Notes on Blocking
B
locking is tedious and seems to take forever. Everybody wants to get into the acting and memorizing
too soon, but taking the time to do blocking helps memorization and characterization.
Some of the stage directions provided in the script (e.g., George enters left; Joanne sits) may be used
right off the page. More often, though, your set design will not match the prototype in the published script,
so as the director you will need to sort through the entrances, exits, and stage movements.
Be sure you don’t expect your heroine to exit downstage right and re-enter upstage left if the only way to
make that happen is for her to run outside and around the building.
A film director has the advantage of choosing one shot out of many takes, but a stage director needs to
develop an eye for creating a balanced picture to help the audience focus on the crucial words and actions.
The invaluable and dedicated stage manager has the responsibility to keep “The Book” with all the blocking
for every actor clearly marked and available for all to reference. Have this marked before each blocking
rehearsal begins. As you continue to direct more productions with experienced actors, you will be able to
decide how many blocking decisions you can encourage your students to suggest for their own roles.
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