AS TO BE NAKED.
(Is the best disguise)
By Lucy Gough.
© Copyright 1994 Lucy Gough. All Rights Reserved. No part of this work may be reproduced, stored in a retrieval system, transcribed in any form or by any means, including, but not limited to electronic, mechanical, photocopying, recording, or other means, without prior written permission of the Author.
CAST:
SIWAN. SARAH PONSONBY/ MRS GODDARD.
RHYS. SIR WILLIAM/MARY CARYLL.
MARY. ELEANOR BUTLER/ LADY BETTY FOWNES.
IESTYN: DIRECTOR / MRS BUTLER.(HAS TO DRESS AS A WOMAN)
OTHER ASPECTS OF LOVE:
CAST:
ELEANOR BUTLER
SARAH PONSONBY
MRS GODDARD
SIR WILLIAM FOWNES
MRS BUTLER
MARY CARYLL.
LADY BETTY FOWNES.
LOCATIONS FOR OTHER ASPECTS OF LOVE:
SARAH'S BEDROOM.
A ROOM AT THE CASTLE.
A CARRIAGE.
A WALL.
A BARN.
"AS TO BE NAKED."
THIS PLAY TAKES PLACE AT VARIOUS STAGES OF REHEARSAL OF THE PLAY 'OTHER ASPECTS OF LOVE'. THE SET IS NOT YET COMPLETE SO THE STAGE HAS BITS OF 18TH CENTURY FURNITURE ON IT. THERE IS A CUPBOARD AND A WINDOW BUT THE WINDOW HAS NOT BEEN PUT IN IT'S PLACE YET SO IS JUST LEANING UP AGAINST SOME ROSTRA., THE BACKSTAGE HAS NOT BEEN MASKED OFF YET. THE REAL AUDIENCE ARE TO WATCH THE 18TH CENTURY PLAY FROM BACKSTAGE SO EVERYTHING IS BACK TO FRONT, HENCE THEY ARE FACING THE BACK OF THE CUPBOARD AND CAN SEE INSIDE IT. OTHER PIECES OF SET WHICH ARE FOR TRICKERY OR ILLUSION ARE PLACED SUCH THAT THE AUDIENCE CAN SEE THE WORKINGS. IT IS CRUCIAL THAT THE SET ALLOWS FOR THE 18TH CENTURY TO BE SEEN (THE ANGLE IS GOING TO BE THE ANSWER) BUT IN SUCH A WAY AS TO MAKE IT TANTALIZINGLY HARD TO SEE. THE CHARACTERS ALSO GRADUALLY ACQUIRE THEIR COSTUMES AND THERE ARE A LOT OF AMUSING MIXES OF PERIOD WITH 18TH AND 20TH CENTURY. IT IS IMPORTANT TO NOTE THAT ALTHOUGH THE COMPANY ARE ATTEMPTING TO CAPTURE THE FLAVOUR OF THE 18TH CENTURY THEY ARE ALSO INTENDING TO IMPOSE A 20TH CENTURY LESS NATURALISTIC INTERPRETATION ON THIS 'OLD' PLAY. THE DIRECTOR HAS CUT IT MERCILESSLY AND IS PRODUCING A PLAY WITH AT LEAST 8 CHARACTERS WITH 4 ACTORS SO THE PLAN IS FOR THEM TO COME UP WITH SOMETHING LIVELY AND INVENTIVE. PART OF THE PLAY WILL BE THE PROCESS OF THEM FINDING THEATRICAL DEVICES FOR BITS OF THE PLAY.
ACT ONE. SCENE ONE:
ONSTAGE TWO WOMEN ARE STANDING BESIDE A FOUR POSTER BED WITH CURTAINS. ONE IS PRAYING QUIETLY WITH A ROSARY. THE OTHER STARTS TO BRING OVER THE THINGS NECESSARY TO LAY OUT A BODY, SUCH AS A BOWL OF WATER AND CLOTHS. THE TWO WOMAN ARE DRESSED IN LONGISH BLACK DRESSES AND 'DOC MARTIN' BOOTS. THE ROOM IS LIT BY CANDLE LIGHT. RHYS IS THE BODY IN THE BED BUT THE AUDIENCE SHOULD NOT BE ABLE TO SEE HIM CLEARLY. GENTLY THE TWO WOMEN PRETEND TO UNDRESS THE BODY. DURING THE SCENE IT BECOMES CLEAR THAT THEY ARE STILL USING SCRIPTS OCCASIONALLY, ALTHOUGH THIS DOES NOT DETRACT FROM THE SCENE.
ELEANOR:
Like a second skin.
SARAH:
How did Ulysses manage without Euryclea? Nothing will ever be the same.
ELEANOR:
It couldn't last forever.
ELEANOR:
She looks even bigger naked.
SARAH:
Do you not think?
ELEANOR:
40 years and I did not know she carried a beauty mark.
SARAH:
Do you not think we should call someone from the village?
ELEANOR:
After all the years she has given us this small service....
SARAH:
It's so intimate.
ELEANOR:
Would you rather a stranger?
THEY PRETEND TO WASH THE BODY.
SARAH:
The way she used to take battle with the butcher for the best cuts.
ELEANOR:
And haggle with the fishmonger.
SARAH:
They can watch out in heaven.
ELEANOR:
Such a shrewd and careful housekeeper.
SARAH:
And dear devoted friend. Lets cover her.
ELEANOR:
She'll not feel the cold.
SARAH:
I do, as if someone has walked over my grave.
SARAH FETCHES A WHITE NIGHTDRESS AND CAP FROM THE CUPBOARD.
SARAH:
Do you remember the petticoat and pockets she placed beside our bed for New Year.
ELEANOR:
Anna Seward, Mrs Piozzi and now Mary Caryll.
SARAH:
Like autumn leaves.
ELEANOR:
When that cruel time arrives.
SARAH:
Please God I go first.
ELEANOR:
I be the elder.
SARAH:
There is no saying.
ELEANOR:
We will meet again.
SARAH:
To live without you is to live without a soul.
ELEANOR:
No regrets?
SARAH:
Regrets?
ELEANOR:
Of our life, here together, this dream we pursued.
SARAH:
How can you ask that?
ELEANOR:
Sometimes you seemed, restless. Do you regret no children, being outside society.
SARAH:
On show to society. How can you ask that after all these years?
ELEANOR:
Death sharpens ones thoughts.
SARAH:
And ones love.
ELEANOR:
This retreat from the world cannot protect us from death.
THEY PRETEND TO PUT THE NIGHTDRESS ON RHYS.
SARAH:
This surrender is so unlike Mary.
ELEANOR:
She could not haggle with death.
SARAH:
Her passing will mean.
ELEANOR:
Our lives must go on. When we have finished lets retire to our bedchamber, I'll read to you.
SARAH:
My spirit needs lifting.
ELEANOR:
Rousseau will do that.
SARAH:
She looks so, so, so,
THEY START GIGGLING.
SARAH:
I'm sorry, sorry , sorry Iestyn. He looks so ridiculous!
RHYS SITS UP IN A NIGHT DRESS AND CAP. THEY LOOK DAFT ON HIM AS THE NIGHTDRESS IS TOO TIGHT SO THAT HIS ARMS ARE HUNCHED FORWARD.
MARY:
Sorry Rhys!
IESTYN:
You'll have to get used to seeing him like that.
A FULL SCRIPT OF THE PLAY CAN BE PURCHASED FROM US AT COST PRICE.
