CAST EXPECTATIONS 1. Actors will not change their appearance without consulting the director. 2. If there are problems with other actors try and work it out on your own before coming to me. The chain of command in rehearsal is: Director, Stage-manager, designers, technicians, and then actors. 3. On time is late! It would be best to show up five or so minutes early to warm up for rehearsal and unwind from your day. 4. Ib is ok to have fun and enjoy rehearsal, however when its work time then we need to be on task and, work. 5. We must respect each other, Actors, technicians, directors, designers, ete. We are all here to make art and respect for one another is a necessity to the artistic process. 6. Ifany conflicts arise with rehearsal times you must contact the stage manager/director immediately. 7. Memorization is essential; you cannot improve your character without losing the script in your hand. 8. Leave your problems at the door. Rehearsal is for creating your characters and making the show. Rehearsal is a good place to tur all your frustrations into art. 9, Teamwork in theatre is essential to the process. If you need help with lines, your character, movements, ete please do not hesitate to ask the Director or the other actors. 10. You as an actor are encouraged to make bold character choices. If you have questions, ask. If we don’t know the answer, we will figure it out together. The director is here to guide you, not to hold your hand through the whole processes. 11, Rehearsal is time for focus and creating please turn your cellphones off or have them on silent and do not use them until you have a break. 12, Please, do not give each other actor notes. It is the job of the directors to give those kind of notes and. help facilitate acting choices. If someone is giving you unwarranted acting notes please inform the stage manager.http://www. lastagetimes.com/2009/08/a-1945-code-of-ethies-for-theatre-workers- surfaces! LA STAGE TIMES NEWS A 1945 Code of Ethics for Theatre Workers Surfaces by Janet Thielke | August 11, 2009 While appearing on Broadway in her Tony-nominated role of Jeanette in The Full Monty in August, 2001, Equity member Kathleen Freeman died of lung cancer. Equity Councillor Jane A. Johnston, a longtime friend and executrix for Ms. Freeman's estate, later discovered among Ms. Freeman's papers a document containing A Code of Ethics for Theatre Workers. Ms. Freeman was a daughter of a small time vaudevillian team. Her childhood experience of touring with her parents inspired this Code of Ethics, Ms. Johnston writes. She also notes: “What is particularly interesting about this list of dos and don'ts for the theatre is that it was written in 1945 when Kathleen was establishing one of the first small theatres in Los Angeles and she was 24 years old. | wish | had been told some of ‘the rules’ when | was a young actress instead of having to pick them up as | wentalong.” The theatre was the Circle Players (with Charlie Chaplin among its backers), which later evolved into the Players’ Ring. Although there is no record that either company used an Equity contract (they certainly pre-dated the 99-Seat Code in Los Angeles), Ms. Johnston confirms that all the participants were professionals. Foreword to the Codel“A part of the great tradition of the theatre is the code of ethics which belong to every worker in the theatre. This code is not a superstition, nor a dogma, nor a ritual which is enforced by tribunals; it is an attitude toward your vocation, your fellow workers, your audiences and yourself. It is a kind of self-discipline which does not rob you of your invaluable individualism. “Those of you who have been in show business know the full connotation of these precepts. Those of you who are new to show business will soon learn. The Circle Players, since its founding in 1945, has always striven to stand for the finest in theatre, and it will continue to do so. Therefore, it is with the sincere purpose of continued dedication to the great traditions of the theatre that these items are here presented.”The “rules” follow: 1. | shall never miss a performance. 2. | shall play every performance with energy, enthusiasm and to the best of my ability regardless of size of audience, personal illness, bad weather, accident, or even death in my family.0 3. | shall forego all social activities which interfere with rehearsals or any other scheduled work at the theatre, and | shall always be on time.1 4. | shall never make a curtain late by my failure to be ready on time.0 5. | shall never miss an entrance. 6. | shall never leave the theatre building or the stage area until | have completed my performance, unless | am specifically excused by the stage manager; curtain calls are a part of the show. 7. | shall not let the comments of friends, relatives or critics change any phase of my work without proper consultation; | shall not change lines, business, lights, properties, settings or costumes or any phase of the production without consultation with and permission of my director or producer or their agents, and | shall inform all people concerned. | 8. | shall forego the gratification of my ego for the demands of the play. 9. | shall remember my business is to create illusion; therefore, | shall not break the illusion by appearing in costume and makeup off-stage or outside the theatre. | 10. | shall accept my director's and producer's advice and counsel in the spirit in which it is given, for they can see the production as a whole and my work from the front.(1 11. | shall never “put on an act” while viewing other artists’ work as a member of an audience, nor shall | make caustic criticism from jealousy or for the sake of being smart.012. | shall respect the play and the playwright and, remembering that “a work of art is not a work of art until it is finished,” | shall not condemn a play while it is in rehearsal. 13. | shall not spread rumor or gossip which is malicious and tends to reflect discredit on my show, the theatre, or any personnel connected with them-either to people inside or outside the group.1 14. Since | respect the theatre in which | work, | shall do my best to keep it looking clean, orderly and attractive regardless of whether | am specifically assigned to such work or not.(] 15. | shall handle stage properties and costumes with care for | know they are part of the tools of my trade and are a vital part of the physical production.( 16. | shall follow rules of courtesy, deportment and common decency applicable in all walks of life (and especially in a business in close contact with the public) when | am in the theatre, and | shall observe the rules and regulations of any specific theatre where | work.() 17. | shall never lose my enthusiasm for theatre because of disappointments. [ In addition, the document continued: 0“I understand that membership in the Circle Theatre entitles me to the privilege of working, when | am so assigned, in any of the phases of a production, including: props, lights, sound, construction, house management, box office, publicity and stage managing-as well as acting. | realize it is possible | may not be cast in a part for many months, but | will not allow this to dampen my enthusiasm or desire to work, since | realize without my willingness to do all other phases of theatre work, there would be no theatre for me to act in.” All members of the Circle Theatre were required to sign this document. And they must have-because the theatre, and the group into which it evolved, was successful for many years.Theatre Cast Contract TEMPLATE ‘As a member of the cast: fl 10. "1 12, 13. 14, 15. 16. 17, 18. 19. | understand that | may be replaced in the show if | do not al Signature | agree that itis my responsibility to know when and where rehearsals will take place. | understand that performances include matinee at = AM, and a matinee on at PM. | agree to attend all rehearsals for which | am scheduled (including all full run- thrus, technical, and dress) and all scheduled performances. Iwill artive 5 minutes early for all scheduled rehearsals and | will remain at rehearsals until the rehearsal is completed or | am excused. | will bring the script, notebook, personal planner, pencils, laptop, proper shoes and rehearsal clothing to each rehearsal. | agree to be off-book with lines memorized after each scene has been blocked and worked. | may call for lines for a reasonable period of time. | will not cut my hair or beard, change hairstyles or colors, or, in general, change my appearance in any way, unless explicitly instructed to do so by the Director. | will work with the costume coordinators to ensure that all costume pieces for my character will be complete by If must miss a rehearsal because of an emergency, | will contact the Director and the Stage Manager. If | miss a rehearsal and do not contact the Director and Stage Manager, | understand that my lack of consideration is enough for me to be dismissed from the ensemble. | know that all missed rehearsals jeopardize the production's progress, even those caused by ‘emergency circumstances. | understand that my role may be re-cast if| miss a rehearsal for any reason. | agree that | will not invite guests to rehearsals without express, prior approval of the director. | agree to assist with the production in any capacity, including but not limited to, working on the set, helping in the costume shop, assisting the Box Office with publicity & marketing, etc. | will participate in the strike on | understand that | must supply my own makeup, undergarments, and shoes. | will treat all costumes with respect, putting them in their proper place after each rehearsal and performance. My image and voice may be used in publicity for Theatre. | agree to take responsibility for my own valuables, and will provide a lock for a locker in the Green Room if | bring valuables to the theatre. | will contribute to a professional attitude atmosphere by demonstrating dedication, a positive attitude, safe practices, and pleasant demeanor with a creative and collaborative spirit | understand that this is an alcohol-free/drug-free campus, and will not come to rehearsals impaired by the use of these substances, including hangovers. fe by this agreement. Date 25Theatre As the director for 1 40. " 12, 13, 14. 47. 18. 19. | agree that it is my responsibilty to create a production schedule before the first rehearsal, and to assist in scheduling all weekly production meetings. | will include all rehearsals, production meetings, set build sessions, lighting focus, costume Parade, paper tech, dry tech, all-day technical rehearsal, public rehearsal matinees, and performance call-times on the production schedule, which will be given to the cast at the first rehearsal, and the production team (including the Director of Theatre) prior to that rehearsal. understand that performances include the following performances and public rehearsal matinees: | agree to organize and lead all cast/crew rehearsals, cast retreats, and cast work sessions. | will work with the technicians in organizing their cues, and participate in the scheduled paper and dry technical rehearsals prior to the all-day technical rehearsal with actors. The all-day technical rehearsal will include at least one cue-to-cue and one complete run of the show. My concept for the production will be clearly communicated to the designers and production team before the third production meeting, | agree to be responsible for the show budget, and will present the updated spreadsheet at each production meeting. | understand that all purchases for this production are for Theatre, and the items will remain property of | « Theatre. | will take responsibilty for creating and executing publicity for this show. All materials for marketing this show will be pre-approved by the Director of Theatre (including all press. releases, posters, flyers, etc.) \ will attend all public performances of this show. | agree to serve as a leader during the set and costume strike. | agree that I wil not invite guests to rehearsals without express, prior approval of the Director of Theatre. | agree to assist with the production in any capacity, including but not limited to, working on the set, helping in the costume shop, assisting the Box Office with publicity & marketing, etc. My image and voice may be used in publicity for Theatre, | agree to take responsibility for my own valuables, and will provide a lock for a locker in the Green Room if | bring valuables to the theatre. | will contribute to a professional attitude atmosphere by demonstrating dedication, a positive attitude, safe practices, and pleasant demeanor with a creative and collaborative spirit. understand that this is an alcohol-free/drug-free campus, and will not come to rehearsals Impaired by the use of these substances, including hangovers, | understand that | may be replaced if | do not abide by this agreement. Signature, Date 26As the 10, "1 12 13. 14, 15, 17, 18. 19. Theatre Designer Contract TEMPLATE Designer for | agree that it is my responsibilty to attend all required production meetings. understand that ! am to bring my color pallet to the preliminary production meetings to discuss final decisions with the director and other designers. Iwill work with the director on all creative decisions, and understand that this is a collaborative process. | agree to choose at least one volunteer student assistant with whom | will work. | agree to work with the budget allocated to me by the director. \ understand that any use of current Theatre stock must be approved by the Director of Theatre. J understand that any alterations made from Theatre stock materials must be approved in writing by the Theatre. (for instance — if a designer chooses to remove the sleeves from a blouse in Theatre’s costume inventory, the designer must have written approval from the Director of Theatre. | agree to submit all sketches, color swatches (pallet), models, and plans to the Production ‘Team before the first scheduled rehearsal for the show. | understand that building costumes and set cannot begin until my designs have been approved by the show's director. understand that my designs become the property of Theatre. | will attend all retreats and work sessions related to my area of design (including painting sessions and costume parades if relevant) My designs will be based on the director's concept for the production. | will attend at least one public performance of this show. agree to serve as a leader during the set and costume strike, and take responsibilty for the safe and appropriate return of all items used for my designs. My image and voice may be used in publicity for Theatre. | agree to take responsibility for my own valuables, and will provide a lock for a locker in the Green Room if | bring valuables to the theatre. | will contribute to a professional attitude atmosphere by demonstrating dedication, a positive attitude, safe practices, and pleasant demeanor with a creative and collaborative spirit understand that this is an alcohol-free/drug-tree campus, and will not come to rehearsals impaired by the use of these substances, including hangovers. understand that | may be replaced if | do not abide by this agreement. Signature DateVCSU Theatre Costume Measurement Chart Name, Cell Phone Email Dorm/Address = Height Weight Eye Color Hair Color Dress Size Pant Size Wil Shirt Suit Shoes Character Occupation: How would YOU describe this character? Notes Head NeckiCollar | Shoulder Width Bust Chest Neck to Waist (front) Neck to Waist (back) Underarm Seam Neck to Floor Waist Hips Knee to Floor Waist to Floor | Leg Outer Seam Leg inner Seam Other Please list all condi {allergies/sensi ies, crooked legs, hig ns that might affect your Costume Designer's work with you insteps, wide feet, quick changes . ) Sign here to indicate that you have read, and agree to, each item on the other side of this form: Signature Date 30Actor / Costume Designer Agreement Please do not change your appearance in any way (haircut/color, shave, weight gain/loss, piercings and/or tattoos). Please notify your Director if you anticipate unavoidable changes. The actor is responsible for informing your Costume Designer of any falls, quick changes, and/or costume adjustments that might be necessary as consideration in building your costume pieces. Actors must tell their Costume Designer about any physical sensitivities and allergies (including detergents) that might affect fabric or costume piece selection Once costumes have been given final approval by the director all actors are required to wear all pieces of their assigned costumes through the closing performance. Your Costumer Designer will tell you if you are required to bring your own undergarments, These items will remain at the ‘Theatre for the full duration of the show run, Actors sweat. Actors are required to shower daily and use clear deodorant before coming to the Theatre. Panty Liners will be provided as Sweat Pads. Please change these before each show. Alaundry day will be posted on your Call Board. Please see your Stage Manager if your costumes need more frequent attention. A Repair Sheet is posted on your Call Board. You are responsible for requesting repairs to your costume pieces. Actors will refrain from eating, drinking (water excepted), applying makeup, chewing gum, smoking, and brushing teeth in costume. Actors are responsible for hanging up and putting all costume pieces in their designated areas, Personal jewelry, nail polish, and perfume should be discussed and approved by your director prior to the first performance. Actors will provide their own makeup, except special effects. Actors will refrain from disturbing costume related items not owned by them or used by their character. 31Costume Parade (Form to be used by Costumers for each character at Costume Parade) Character Name: Scene(s) Costume Pieces Accessories Need to find/buy/ouild: Changes/Quick Changes/Dressers Needed: Hair/Makeup Notes: Accessory Notes: General Notes: 32Make-up Plot/Design Template (face outine on reverse side or additional page) Actor Name: Character Name: Show: Character age, occupation, and brief description: Base/Foundation Concealer Highlight Contour Blush/Rouge Wrinkles/Freckles/Dimples/Scars/Injuries: Skin Prep Barrier or Setting Spray Use Eye shadow Eye liner Lashes Brow Lips Powder 33Production Meeting Report Date: Time: Show Title: Run Time: What was worked on: Running/working of Act 3 Production Team Members Present Production Team Members Missing: ‘Additional Information: Meeting Notes: - Marketing: Technical Notes: [ Set: Costumes: ights: Pro} ‘Sound: Paints: Production: Management Questions/Concerns: 37Date: Rehearsal Report Show Titl Rehearsal #: Rehearsal Start Time: Rehearsal End Time: Run Time: What was worked on: ‘Actors Present: ‘etors Missing: Late Actors: What time late actors arrived: ‘Additional Information: Rehearsal Notes: Technical Notes: ‘Scenery: Lights: ‘Costumes: Props: Pre tion: Mise: 38Out/Late or Injuries/IlIness: Management Questions/Concerns: ‘STAGE MANAGER: 39Show Report Show Title: Date: Rehearsal #: [ Start Time: End Time Run Time: ‘adience Numbers: Tate Actors: ‘What time late actors arrived! Ushers and Additional Information: l Technical Notes: ‘Scenery: Lights: | Costumes: Props: Misc: _Out/Late or Injuries/Iliness: Management Questions/Co1 ‘STAGE MANAGER: 40LBL, Monika Browne 1 LORD BYRON’S LOVE LETTER PROP LIST: . Sewing materials (for the Spinster) . Cane (Old Woman) . Journal (volume wrapped in tissue and tied w/ribbon) . Photograph of young Irene . Small packet containing letter . Confetti Reading glasses . Lorgnette PNANMARwWHE SET PIECES/FURNITURE: Shuttered door (using door in the East wall) 2. Rose-shaded lamp 3. Curtains (for the Old Woman) — will build, but might need materials to drape 4. Tiny pink and ivory cage with a stuffed canary inside 5. Secretary/cabinet 6. Photo of Lord Byron in a frame, hanging, (with azure detail to be added later) 7. Love seat 8. Chair (wood, not arm chair) 9. Stool or chair (for the Old Woman when she’s behind the curtain) 10.End table — this is a maybe, for the sewing materials at the top of the show for the spinster9-49 Sn Lunes bva19-D ly Ppy 4/402 ayay |prnyive OW aw sz 4 LL02 HOYVIN AVQSYNHL AV Idd AVG =NG3M AVS SNL AVGNOW*JO|S a|pplw ay} ul WUOjJad 0} pajnpayos ugaq sey 7147 ‘UO!e}01 MoYs Ba44} |[N} a4) SulUUN aq ||IM aM “y [Lud ‘Aepsany jo sy wdg¢:9 wdoe:9 widoE:9 wdoe¢:9 wdz 7e |e. 3e j/2D. 3e 29 ye |e, yee | wdo¢:2-0€:s | a | ypey /m 7 | Jesueayas ysnoiyd | dgi/ysnoiyy | mous MoUs MoUs ssaiq -uny -uny AVGNNS | AVGYNLVS | AVGIN4S | AVGSYNHL | AVGSINGIM | AVGSANL | AVGNOW 6-€ WudV FINGSHIS NFAM JONVAYOAYId ¥3.LL31 JAO1 S.NOYAd GOTLord Byron’s Love Letter Sign-In Sheet for 2nd performance Friday 4/7/2017 ROLE INITIALS DATE ARRIVAL TIME NOTES Old Woman Spinster Matron ‘Husband Director Stage ManagerLord Byron Love Letter — Light Cues [CueNumber Line | Page Note/Name ut At start 123 Red gel Ato 50% 2 It’s probably 123 3,5, with Sa 13 Shhh! We set out | 127 3,5, 6 at 50% early After Riley clears her _ | throat | 4 And last kiss 131 ae farewell 6 to full us Without paying? | 132 6 out Cheated us? 3, 5 stayLord Byron Love Letter — Sound Cues ‘Cue Number Line Page Note/Name Sa After Li, fulllength of || 123 doorbell sound Sb Winston! Winston! 125 Bourbon Street Sc ‘And lost his kiss Bt Right after her line start farewelll bringing it up to louder Sd Tetterisiying onthe | 132 On lights out floor!Mouika CHARACTERS Tue SpinstEr. Tue Orv Woman. Tue Matron. Tue Huspanp.Lord Byron’s Love Letter Scene: The parlor of a faded old residence in the French Quar- ter of New Orleans in the late nineteenth century. The shut- tered doors of the room open directly upon the sidewalk and i the noise of the Mardi Gras festivities can be faintly distin- ' sshd. The intrir is vory dusky. Beside a rosechaded lamp, ) | the Spinster, a woman of forty, is sewing. In the opposite corner, — completely motionless, the Old Woman sts in « black silk dress. SOL The doorbell tinkles. Spinster: (rising) Is probably someone coming to look at the letter. \Oxp Woman: (rising on her cane) Give me time to get out. (She withdraws gradually behind the curtains. One of her’ clowllike hands remains visible, holding @ curtain slightly open so that she can watch the visitors. The Spinster opens the door and the Matron, a middle-aged woman, walks into the : L r00m.) @ {OC “‘Semsten: Won't you come in? wn uy ele Marnow: Thank you. ( Joobiv thes Spmster: You're from out of town? ch “ : Marrow: Oh, yes, we're all the way from Milwaukee, We've : come for Mardi Gras, my husband and I. (She suddenly no- (wall'S@ tices @ stuffed canary in its tiny pink and ivory cage.) Oh, (ACC this poor little bird in such a tiny cage! It’s much too small to keep a canary in! & i Spinsrer: It isn't a live canary. ; Oxp Woman: (from behind the curtains) No. Is oe 123 i ‘ 4 nnn ne she ST EDS NARITA ISTMarrow: Oh. (She self-consciously touches a stuffed bird on her hat.) Winston is out there dilly-dallying on the street, afraid he'll miss the parade. The parade comes by here, don’t it? Spivsrer: Yes, unfortunately it does. Marnow: I noticed your sign at the door, Is it true that you have one of Lord Byron’s love letters? — Jools Shetigtet a Spinsrer: Yes. Marrow: How very interesting! How did you get it? Spinsrer: It was written to my grandmother, Irénée Mar- guerite de Poitevent. Marzox: How very interesting! Where did she meet Lord Byron? Spivsren: On the steps of the Acropolis in Athens. ‘Matron: How very, very interesting! I didn’t know that Lord Byron was ever in Greece. Spinsrer: Lord Byron spent the final years of his turbulent life in Greece, Ve Oxo Woman: (still behind she evsin Je was éxiled from Engad! (victor yrableo Pye ch : ade Spinsrsr: Yes, he went into ae exile from England, ro Oxp Woman: Because of scandalous gossip in the Regent's court. Spinsrer: Yes, involving his half-sister! Oxp Woman: It was false—completely. Spisrer: It was never confirmed. Oxp Woman: He was a passionate man but not an evil man, Spmisrer:)Morals are such ambiguous matters, I think, Marron: Won't the lady behind the curtains come in?\ Spinsrer: You'll have to excuse her. She prefers to stay out. Marrow: (stifly) Oh. 1 see. What was Lord Byron doing in Greece, may L ask? Oxp Woman: (proudly) Fighting for freedom! 124,Fstrricccom oman: Spivsrer: Yes, Lord Byron ‘went to Greece to join the forces that fought against the infidels. Otp Womaw: He gave his life in defense of the universal cause of freedom! X =) Ord uf Marron: What was that, did she say? Spmster: (repeating automatically) He gave his life in defense : of the universal cause of freedom. Marnon: Oh, how very interesting! Oup Woman: Also he swam the Hellespont. Sprvsren: Yes, Op Woman: And burned the body of the poet Shelley who was drowned in a storm on the Mediterranean with a volume of Keats in his pocket! Matnow: (incredulously) Pardon? Spinsrer: (repeating) And burned the body of the poet Shel- Jey who was drowned in a storm on the Mediterranean with | a volume of Keats in his pocket. faud wp Marron: Oh. How very, very interesting! Indeed.\'d like s0 much to have my husband hear it, Do you mind if 1 just step out for a moment to call him in? i) Spunsren: Please do. (The Matron steps out quickly, calling, ob 6 “Winston! Winston!) OE li Met Paced p pecki ‘he. Oto Wonsan (poking hor hoed out fora momant) Watch them carefully! Keep a sharp eye on them! — Spinsrer: Yes. Be still, (The Matron returns with her husband who has oon drinking and snes paper cop ‘prided with confetti.) — 4 Matron: Winston, remove that cap. Sit does on the sofa. These ladies are going to show us Lord Byron’s love letter. Spmnsren: Shall I proceed? Marron: Oh, yes. This—uh—is my husband-—-Mr. Tutwiler. X R Spinsrer: (coldly) How do you do. Marron: Iam Mrs, Tutwiler. \ 125 2 i pol shamed We WL ito scald.Spivsren: Of course, Please keep your seat. X Marnow: (nervously) He's been—celebrating a little. Oup Woman: (shaking the curtain that conceals her) Aske him. please to be careful with his G@gar.) ©“ Spinsren: Oh, that’s all right, yeu ‘may use this bow! for your ashes, + apkebeny a Oup Woman: Smoking i is such an unnecessary habit! XV V fake cqar & Huseanp: Uh? bf Marrow: This lady was telling us how her Grandmother hap- > pened to meet Lord Byron, In Italy, wasn’t it? i@ Spinsten: No. ane ah Ox Woman: (firmly) In Greece, in Athens, on the steps ; of the Acropolis! We've mentioned that swize, I believe. Ariadne, you may read them a passage from the journal. rst Spinsten: Yes. Oup Woman But please be careful what you choose to read! ¢ (The Spinster has removed from the secretary @ volume cerapped in tissue and tiad with a ribbon.) Spinsten\Like many other young American girls of that day and this, my Grandmother went to Europe. Oxo Woman: The yeat before she was going to be presented to society! Marrow: How old was she? Gh O18 Wows: Sicen! Barely stesn! She was very beautiful, too! Please show her the picture, show these people the pic- ture! Its in the front of the journal. (The Spinster removas y the picture from the book and hands it to the Matron.) e a Marrow: (taking « look) What a lovely young girl. (passing it to the Husband) Don’t you think it resembles Agnes a little? Huseanp: Uh. Oxp Woman: Watch out! aes ine) you'll have to watch that man. I believe he’s been drinking. I do believe that he’s been— Huspanp: (éruculently) Yeah? What is she saying back there? 126 | oesneiememosnenaeaene RRRMarron: (touching his arm warningly) Winston! Be guiet. Husnanp: Uh! Seinsrer: (quichly) Near the end of her tour, my Grandmother and her Aunt went to Greece, to study the classic remains of the oldest civilization, Ouv Woman: (correcting) The oldest European civilization. Svinsrer: It was an early morning in April of the year eighteen hundred and— Oup Woman: Twenty-seven! Spivsrer: Yes. In my Grandmother’s journal she mentions— Ouv Woman: Read it, read it, read it. Marron: Yes, please read it to us. Spinsrer: I’m trying to find the place, if you'll just be patient. Marrow: Certainly, excuse me. (She punches her Husband who is nodding.) Winston! Sprnsrer: Ah, here it is, Oxp Woman: Be careful! Remember where to stop at, Ariadne! L Da Spinsrer: Shhh!\(She adjusts her glasses and seats herself by the lamp.) “We set out early that morning to inspect the ruins of the Acropolis. I know I shall never forget how extraordinarily pure the atmosphere was that morning. It «,seemed as though the world were ‘not very old but very, very young, almost as though the world had been newly cre- ated. There was a taste of earliness in the air, a feeling of freshness, exhilarating my senses, exalting my ‘pitt ow shall I tell you, dear Diary, the way the sky looked? It was almost as though I had moistened the tip of my pen in a shallow bowl full of milk, so delicate was the blue in the dome of the heavens. The sun was barely up yet, a tentative breeze disturbed the ends of my scarf, the plumes of the marvelous hat which I had bought in Paris and thrilled me with pride whenever I saw them reflected!/The papers that morning, we read them over our coffee before we left the hotel, had spoken of possible war, but it seemed unlikely, 127 Ao 44 inches,unreal: nothing was real, indeed, but the spell of golden antiquity and rose-colored romance that breathed from this fabulous city.” Op Woman: Skip that part! Get on to where she meets him! Spinsrer: Yes. ... (She turns several pages and continues.) “Out of the tongues of ancients, the lyrical voices of many long-ago poets who dreamed of the world of ideals, who had in their hearts the pure and absolute image—” Oxp Woman: Skip that part! Slip down to where— yc’ Sprnster: Yes! ere! Do let us manage without any more in- terruptions! “The carriage came to a halt at the foot of the hill and my Aunt, not being too well—” Op Woman: She had a sore throat that morning, Spinsrer: “—preferred to remain with the driver while I under- took the rather steep climb on foot. As I ascended the long and crumbling flight of old stone steps—” Oxp Womaw: Yes, yes, that’s the place! (The Spinster looks up in annoyance. The Old Woman's cane taps impatiently behind the curtains.) Go on, Ariadne! Spinsrer: “I could not help observing continually above mea man who walked with a barely perceptible limp—” Otp Woman: (in hushed wonder) Yes—Lord Byron! 7 Sprvsrer: “—and as he turned now and then to observe beneath him the lovely panorama—” Oxp Woman: Actually he was watching the girl behind him! Spivsrer: (sharply) Will you please let me finish? (There is no answer from behind the curtains, and she continues to read.) “I was irresistibly impressed by the unusual nobility and refinement of his features!” (She turns a page.) Oxp Woman: The handsomest man that ever walked the earth! (She emphasizes the speech with three slow but loud tdps of her cane.) Spinsrer: (flurriedly) “The strength and grace of his throat, like that of a statue, the classic outlines of his profile, the sensitive 128lips and the slightly dilated nostrils, the dark lock of hair that fell down over his forehead in such a way that—” O1p Woman: (tapping ao ad rapidly) Skip that, it goes on for pages! Kipincter Srivsrer: “ .. When he had reached the very summit of the Acropolis he spread out his arms in a great, magnificent ges- ture like a young god. Now, thought I to myself, Apollo has come to earth in modern dress.” Oxo Woman: Go on, skip that, get on to where she meets him! Spinster: “Fearing to interrupt his poetic trance, I slackened my pace and pretended to watch the view. I kept my look thus carefully averted until the narrowness of the steps com- pelled me to move close by him.” Op Woman: Of course he pretended not to see she was com- ing! Spinsren: “Then finally I faced him.” Ui|/- L3 : |e Woman: Yes! go: Spinster: “Our eyes came together!” Oxp Woman: Yes! Yes! That’s the part! Spinsrer: “A thing which I don’t understand had occurred be- tween us, a flush as of recognition swept through my whole being! Suffused my—” Otp Woman: Yes... Yes, that’s the part! ‘S( Spinsrer: “Pardon me) he exclaimed, ‘you have dropped your ~~ | glovel? And indeed to my surprise I found that I had, and / as he returned it to me, his fingers ever so slightly pressed the cups of my palm.” Ss > Woman: (hoarsely) Yes! (Her bony fingers clutch higher up on the curtain, the other hand also appears, slightly widen- ing the aperture.) {oj soe |f herse of Sprvsrer: “Believe me, dear Diary, I became quite faint and breathless, I almost wondered if Lcould continue my lonely walk through the ruins, Perhaps Détumibled, perhaps I swayed a little. I leaned for a moment against|the side of a column. 129 > wt ea ane CawThe sun seemed terribly brilliant, it hurt my eyes, Close be- hind me I heard that voice again, almost it seemed I could feel his breath on my—~” Orv Woman: Stop there! That will be quite enough! (The Spinster closes the journal.) Marron: Oh, is that all? < Oxp Woman: There's d great d to people, 343 f Marron:\Oh. \ SOG a ele Sprnsrer: I’m sorry. P’ll show you the letter. (9) Marron: How nice! I'm dying to see it! Winston? Do sit up! (He has nearly fallen asleep. The Spinster produces from the cabinet another small packet which she unfolds, It contains the letter, She hands it to the Matron, who starts to open it.) Oxp Womaw: Watch out, watch Out, that woman can’t open the letter! Teast clos Hrawd loow at al more that’s not to be read Ae on Spinsrer: No, no, please, you mustn’t,‘The contents of the letter are strictly private. I'll hold it over here at a little distance so you can see the writing. 7 Nivel Oxp Woman: Not too close, she’s holding up her glasses! (The Matron quickly lowers her lor gnette.) SprvsreR: Only a short while later Byron was killed, mac Marron: How did he die? f Oxp Woman: He was killed in action, deferiding the cause of freedom! (This is uttered so strongly the husband starts.) Spisrer: When my Grandmother received the news of Lord » Byron’s deathYin battle, she retired from the world and re- mained in complete seclusion for the rest_of her life. Marnow: Tch-tch-tch! How(@readful! I thik that was foolish of her. (The cane taps furiously behind the curtains.) {0 © Spinsrer: You don’t understand. When a life is completed, it ought to be put away. It’s like a sonnet. When you've written the final couplet, why go on any further? You only destroy the part that’s already written! 130 iOup Woman: Read them the poem, the sonnet your Grand- mother wrote to the memory of Lord Byron. \, a Spinsrer: Would you be interested? YX (va Marron: We'd adore it—truly! = Spinsrer: It’s called Enchantment. Marron: (She assumes a rapt expression.) Aahhh! Spinsrer: (reciting) “Un saison enchanté! 1 mused. Beguiled Seemed Time herself, her erstwhile errant ways Briefly forgotten, she stayed here and smiled, Caught in a net of blue and golden days.” Op Woman: Not blue and golden—gold and azure days! SpINnsTER: “Caught in a net—of gold and azure days! But I lacked wit to see how lightly shoon Were Time and you, to vagrancy so used—” (The Old Woman begins t0 accompany in a hoarse under. tone. Faint band music can be heard.) “That by the touch of one October moon , From summer's tranquil spell you might be loosed!” XK si4 clo Oxp Woman: (rising stridently with intense feeling above the Spinster’s voice) Think you love is writ on my soul with chalk, To be washed off by a few parting tears? ‘Then you know not with what slow step I walk The barren way of those hibernal years— My life a vanished interlude, a shell ‘Whose walls are your first kiss—and last farewell!” x y (The band, leading the parade, has started down the street, growing rapidly louder. Ir passes by Like the heedless, turbu- lent years. The Husband, roused from his stupor, lunges to ve the door.) : Marron: What’s that, what’s that? The parade? (The Husband slaps the paper cap on his head and rushes for the door.) 131 be sevens OS SAECO S SIRS TOLER TEE TTSSOG AS RE ERD EIST SES ER I Huspann: (at the door) Come on, Mama, you'll miss it! Spinster: (quickly) We usually accept—you understand?—a small sum of money, just anything that you happen to think you can spare, Oxp Woman: Stop him! He’s gone outside! (The Husband has escaped to the street. The band blares through the door.) Spiwsrer: (extending her hand) Please—a dollar. . . Oxp Woman: Fifty cents! Spinsrer: Or a quarter! Matron: (paying no attention to them) Oh, my goodness— Winston! He’s disappeared in the crowd! Winston—Win- ston! Excuse me! (She rushes out onto the door sill.) Win ston! Oh, my goodness gracious, he’s off again! Sprnsrer: (guichly) We usually accept a little money for the display of the letter. Whatever you feel that you are able to give. As a matter of fact it’s all that we have to live on! Otp Woman: (Joudly) One dollar! Sprnsrer: Fifty cents—or a quarter! Marron: (oblivious, at the door) Winston! Winston! Heav- enly days. Goodbye! \(She Pushes out on the street. The Spinster follows to the\door, and shields her eyes from the light as she looks after the Matron. A stream of confetti is tossed through the doorway into her face. Trumpets blare. She slams the door shut and bolts it.) yh, Spevsrer: Canaille! ... Canaille! b Oxp Woman: Gone? Without paying? Cheated us? (She parts L\\ the curtains.) cleoww rok O Spinsrer: Yes—the canaillel\(She fastidiously plucks the thread of confetti from her shoulder. The Old Woman steps from behind the curtains, rigid with anger.) . Oxp Woman: Ariadne, my letter! You've dropped my letter! Y/ Your Grandfather’s letter is lying on the floor! o¢ py : Noo o CURTAIN 7), ee ni 132 u