INTRODUCTION
||
C|
O|
P|
Y|
R| Characters:
I|
G| SETH: the hero, an executive in a multi-
H| national, multi-billion dollar company.
T|
|| SETH'S WIFE, LAURA: a loyal corporate wife
1| and mother.
9|
9| THE GHOST: dressed in a white robe with
7| leaves covering it's head, it is neither man or
|| woman. Under its robe is a skeleton suit. It
B| resembles the Irish description of a Banshee.
Y|
|| SETH'S SECRETARY, MOLLY
R| CHAIRMAN OF THE BOARD
I| PSYCHIATRIST
C| POLICE SERGEANT
H| POLICEWOMAN
A| (All of the above could be played by the
R| same person, or one woman could play a couple
D| of parts and one man could play the rest.)
||
d| THE CHORUS:
e| OFFICE WORKERS
G| BOARD MEMBERS
A| PEOPLE AT POLICE STATION
R| CRIMINALS IN JAIL
I| (All of these are played by the same
S| actors - I would suggest a minimum of four -
|| two women and two men.)
D| The above groups act like a Greek chorus.
O| They can speak the lines in unison or
B| individuals in sequence can speak the lines.
L| When the props are being changed the chorus
E| members might change the sets.
||
A| Scenes:
L| I : Seth's office - 9 AM.
L| II : Meeting room at Seth's company - 3 PM.
|| III: Seth's home - 6 PM.
R| IV : Psychiatrist's office - 9 PM.
I| V : Police station - midnight.
G| VI : Jail cell - 2 AM.
H| VII: On a country road - dawn.
T|
S| The action takes place over a twenty-four hour
|| period.
R|
E| Note about production:
S| The following remarks are meant as
E| suggestions only. The author encourages theater
R| groups to produce this play in any manner that
V| they feel is appropriate. The following
E| suggestions would allow this play to be
D| preformed with minimal actors and props, thus
|| making it easier for production companies.
||
C| Lighting:
O| Strong spot lighting at times. Some scenes
P| with deep shadows.
Y|
R| Props and scenery:
I| I would suggest the use of a rear screen
G| onto which a slide is projected. There could be
H| one slide for the office, one for the board
T| meeting, one for the home etc. Minimal props
|| would include: a desk, a coffee table, a couch,
1| six chairs, and four cots (or bed rolls). Most
9| scenes only need a few props, the rest could be
9| mimed, i.e. doors, walls. See remarks before
7| each scene.
||
B| Music:
Y| The music should be simple and sound a bit
|| like spoken words. At times the music will rise
R| to dominate the action. At other times the
I| music should fade into silence. Silence is
C| often used for emphasis. Unless stated
H| otherwise, music with the appropriate theme
A| (appropriate for the character currently
R| speaking or the emotions currently being played
D| out) is always in the background. Characters
|| may freeze sometimes while music continues.
d| The play can be a bit stylized. It could feel
e| slightly like a silent movie with music as
G| background if a director wants to stage it that
A| way.
R| I encourage the use of original music, but
I| there should be a number of themes that
S| continue throughout and that interweave. The
|| themes are:
D| Themes:
O| Seth's theme: his theme has a narrow range
B| of only an octave, two at most when he is
L| agitated.
E| Seth's wife's theme: more octaves than
|| Seth, but not very flashy. A matter-of-fact
A| theme with an element of pleading and
L| comforting.
L| Anxiety theme: Seth, the workers at the
|| company, Seth's wife all use this theme; minor
R| key. Seth uses it especially when he worries
I| about the ghost.
G| Resolution theme: the counterpart to the
H| anxiety theme is a resolution theme. It occurs
T| when Seth thinks about being able to sleep or
S| being free of his dreams and later when he
|| comes to terms with the ghost. It is also used
R| at the end when Seth makes a decision; major
E| key.
S| Chorus theme: this theme is used by the
E| workers, board members, people in police
R| booking room, and prisoners. The theme has a
V| whining character, a moaning and groaning feel
E| to it. It is often nervous.
D| Ghost's theme: a menacing, foreboding
|| theme. The theme should be also full of
|| sympathy for the ghost, because it was the
C| ghost who was killed.
O| Chairman of board, psychiatrist, sergeant,
P| policewoman theme: this theme is no nonsense,
Y| assertive, take charge. We'll call it the
R| "taking-care-of-business" theme.
I| Production of the music can be very
G| simple. It could be taped beforehand or played
H| with a single electronic synthesizer or with a
T| small group of instruments.
||
1| Dialogue:
9| The actor's speech should be, at times,
9| like singing (just as the music should be a
7| little like talking). Some actors and directors
|| may feel the need to repeat a line here and
B| there that is not in the script. Please do so
Y| if it will enhance the rhythm of the play.
|| The asides are especially important. Often
R| the actor comes to the front of the stage where
I| he or she is spotlighted while the rest of the
C| action freezes in the shadows in the
H| background. After the aside the actor or
A| actress should return to the interaction with
R| the others and the lights should come up.
D|
|| Costumes:
d| Ordinary everyday business clothes are
e| appropriate. Seth starts out in a suit, vest
G| and tie which he wears the entire time, but it
A| becomes more disheveled as the play goes on.
R| Secretary and wife are well dressed, board
I| members also. Prostitutes and thieves are well
S| dressed but flashy; prisoners in jail are in
|| old ragged work clothes,
D|
O|
B|
L|
E|
SCENE I
