1 (Pavick anc Sam) 2 (Queeny and Johnny) . <4. The play text, its context and the ideas presented in the play While croosing a play t to direct, Iwas drawn to ‘Athol Fugards play Nongogo, Irspees by Ths play rather than bang solely forthe purposes of enierianment is used to promote political heat frmesis message, Athol Fugard touches upon he difcuties tat = naturaiste ‘he South Afican apartheid infited upon the Black acing to porray populations of he townships Instead of presenting Senco ‘straight up fects of racal segregation, Nongogo puls the a audience into the ves of 5 very real, and human Petite tat ‘characters. This allows for he aucionce to connect wih Fasurfvrasyne ‘he characers eo! sympathy and ulirately anced to faarrsseea™ {ight he apartheid - ard uttmately human oppression ha charsomre se ties maietol® aun sinen ara reeraton tite Conair haaboa mal inate weal | néwaputccnaeiscderteaeine——wondboyond he Pagal Corertom ceo Syanarber ana he shies ‘South African Aparteid the cear-cut facts Imposed byte Natorl Pary - goverment for 18460 1298 ‘Townships: tveg areas reserve or ron-whtes speci segegues rescence meas) “Be sting of pay {sete Shab hare fe pao! came to ek ‘temeover To svn on frge er moet ~ tes mage shows he hatyg hung stances fe a pupuatone tung n shack” Mt Yung peta wee, ne fecrry. organ te vey wack poduchvy of nese aye popuatens rd essertanyeexnarie Jomih Hus wan We Mach $24 te soepaton tt nt ty occur fg ree ut ao ‘eauaton heattcate. poke tervces and ever beeches (omnpe (Sou Aca 2070) (ope beyond he guogrplcl borders Foca done tens a at so Grn sm fr prod ne rt auencaoecnnse te eect espera they mat coe at be et oreo ae wor ee bs) a thetowetip oe oye Po oath pont Sty an reach bt th tat» Shoeen nr oy a tows costar fo som vse ten nostro be bt, Oey a coer Apowetl pte poy at ae pute sown by wre pron uy enter fcc Tales ausence ose tl spatild on avbedénd tra nh carol Sl chy ange ope oe steve fut dngtee ae Fagard aga red acto to Neng Drage ta acer sade neon Cpvors oo wel entahed msslives are filed wih opportunites). This specific audience is essential ‘tor nedto cam deliver Fuga!’ artic intentions - presenting limitations placed on ‘Strasberg: ‘techy soe tsa eileen tn snabent + gaRES., blacks by the apertyeid-to.an audience who can make a change. SOREPIES, _ RESSEEE play resents a struage ofa blsck woman. Queany. whois seeking a oo IS" beter fe. Quceny was presente with en opportunity 1o improve bal cexgeroces 30 was taken away Dy the people she surrounds herself with wth her bing @ Nongoge - a prostitute - sl pursuing her. Throughout the} the aucience comes io admire Queeny and wish for her success. ‘his does net happen (the play does not have a happy’ ending where she manages to srprove thei Ife) -the audience can fnaly acknowledge {imitations that these societies have created, and leave the play ‘educated about the common lives of black individuals. ‘These effects are achieved through the use of Lae Strasberc's| ‘math (this is « theave theory frequently empoyed by Fugard n his plays) (Method Acting, 2016). Nongogo: ‘A tale of love that almost was! ‘Themes: 'Nongoge portrays the constraints of fe under aparheid and} Inablly 10 escape these constrains. Ater research and my ‘ead through lidentied the themes f: hope, desire for a i, and altempted pride. In addition trwarted aspirations Inailty to escape social constraints are scattored across the psy - which ave created by the apartheld. There are hints of fomance 2s well between Johnny and Queery (they talk ‘who they want to sete down with together). This is never realised, tothe audience's disappoiniment, because the pasts of some characters (n this case both Johnny and Tages rovaes ager nie Pe secur conion hat hebieck popsere were tags them down, not lowing them to mave ferward and jecto aung te aparracc Tse nw banc vetason f hmong, and Rie wande a ary prOSper together ftmen bvngin tach conctors noud wa wsh excape “pat a re energy anavesouees [Breas comporg tis goat or ge upand gmk eemseves 0 aout.Jonny and Queeny have a clear connection trom the first une they meet - which | want to emphasise inthe play (this is the only ur part ofthe play butit should be presented completely realistically and act as @ symbol of hope). Jchnny turns up on the doorstep of Queeny/s Shebeen seling tablecloths as ¢ stat up business. Queeny decides to invest 10 quié a8 she realises this man - who intially pocsesses so many ‘dreams, may be her only chance to improve her ifs. In addtion Queeny wants to cook for Johnny 1 ike [sooking orpeople]. You know Inever cooked for ary man before? because all she wants isto be a respactable wife of ‘a dgnifed man - who she believes can be Johnny Identity nd the pride which stems from having possession of your ident «inks tothe passbooks which ‘were the blacks ware requirac to have with them at all tmes with their National Identficaton rumbers printed Inside of X. On the rights an example a passbooks - which had to be caried around oy the owner everywhere ‘hey 90, anyone caught without it was fined and incarcerated [Apartheid (1948-1964), 2018). These passbooks ‘wore completely ragged towards adulthood - and contained everyting that ever happened in tho individual's Ho - ‘every visit to the doctor, every job, every chid, ther marriage. They were designed to segregate populations and record the migrations of blacks n shit for work (Pass Laws, 2016) ‘Athol Fugard doesnt jst present us with the facts of aperthed - he presents human characters who the ‘audience can identity win, an feel empathetic towards the lives whicn remain constraned arc impoverished [Nongoge is slang fora ‘cheap prostiute’. and this is what defines Queeny in the eyes of men ike Sem (but who accepts her nevertheless) and Johnny (who sadly does rot). Inthe play Fugerd alse touches upon the themes of sexism and inequly between men and women. Johnny is man striving for a bette if and inally he promises the same to Queeny. She does everything she can to realise this» puts all her hope and Into Jobnay. Buthe babeves 2 woman’, can be either pura and uncouched, ora prostitute - tha lowest members of sociely. ‘When he shuns: orer past -a craracter who is intially respected fr his work ethic and ambition, leaves the audience disappointed, and hopefully motivated 10 false awareness about the oporession and the injustice occurring between human beings. 2. My artistic responses, creative ideas and explorations and my own experiences of live theatre as a spectator ‘Afor reading the play through, | was disappointed that ‘Queeny does nct escape the consirained lf of her Shebsen o , ‘and township. Throughout the play began acmiing and cnamnostyoeseon oneal oaling oripathy towards Quseny. When she was shunred by ‘weft ranes wa edo. erty 4Johimy because of her past asa norgogo, despite her efons ar wl rb ee od aig ‘of escaping that ast I wasiniuiated and dsapooinieé-asi Fan ae as expecting the typical happy-ending’. Fugard surpasses the" ake ‘udence’s expectations of Queeny escaping he consvanis, ert dt nwo mals ‘nd insiead presents the realty - that sis impossible to escape Foinaamtwnnnterpos he the nerteis run tomate Fugaresintertonister te aidence © dove. @ asim todo someting about constant ofthe socityinSouth _—Resasu nin svminvomovap oa (ica ad eiirate opprenson. They evoive round darting a Pevnwune cacao retaliation against the apartheid in South Affca - other places in‘the world where oppression exiss, bythe mare privlaged whte population - who woud have the power to make changes. Since | am staging ‘ley postapertheid, my itenton s going to focus on emphasising oppression. and cesting empathy among he audience. ‘The rusration | experienced dung my fist read through is what | want the audience to experience. | want the audience b experience ‘fustration towards the oppression each character experiences. The charactors ibe peserted asrealhuman beings -owards whom th ‘eudeence can experience empathy. Amongst cher fee ngs dsapporriment trot Queery. 0 deeply adivable character, io unable fo casape Instead resort backto doing wnat she hates rrost- working at me Snebeer, taking money from broken people. The inabty to improve her Hf ‘stems from the people around her who are broken 2s wel they are unable to lean an eachother and propel each othe forward. Johnny was ‘sn0king ‘or beter Mo and forget his past but ended up being more mentally citraugnt than the others. statement which jumped out at me ‘while reaing he play is when Queery asts Johnny wnat he looks for ina woman his answers “She's going tobe clean... Live and tink cian? You can always wash your hand, or your face or your fet. But your mind? swash that you got to thinking dro Heng ke? touched re th ence... never agai” Thisis a staterrert is «turing pont the play. Johnny’s perfect woman is clan’ and ‘urtained ~ and most cetariy not Queeny. A ‘pont nthe play Fugarc emirates al sense of romance, as Queeny's past resrict her potential of being a ‘clean’ woman, though she stNest ‘one. This develons unease win the audience, withthe growing realisation that something wil go tery wrong. ‘There are mony themes touched upon by Fugard however | want focus specfcaly on “oppression of each cheracer (as | noticed that each characte Is alec by the apartned in a ‘completely diferent way). the imitations the charactors exparence and thet lack o identity. donty ison mpartant home ard allows for dignty ad pride tis ene of the fow tings the people can si possess. While reading the play | found the extract onthe right exremely powerful inthis ialogue between Patrck and Joneny, Pick debves he uh about hse othe audiance “This opens up e window forthe audience to understand the lves ofthe block populations in ‘townships. Patricks a minor character - anc having a monologue of ths portance, ‘portraying his despa and inabily 0 provide fr Fis cilren.s something the audiance wil be ‘unable 1o forget The hordhips his ocr are irficing upon hm and his we re a complete ‘corirast othe Joy that chidren provice fo he prvleges ausience watcning he play. Hence ‘monologues such as this. are essential 0 be delveredte the audience ina way in which they ‘canbe remambored ‘Characters: ‘Queeny i a ciftcult character to understand andit takes tne for he audience to begin ing her - the aucionce needs tobe expoted tal sides of her and understard that het aggressions stores from the way ite her ie has tuned out. ‘She is.aighter or freedom, icity and seeks to gain control of rife. She is @ ‘Charter who learned to admire, sho stancs up fr Black - and though she doesn eal im wel hers, when Sam doesn't call Backie ‘name, she defends him because nares represertincviduslty The name laches his only possession which gives him his identity.“nthe stage directions Queeny ie descited as The very best but neglecied - reflecting her Shebser. She possesses 8 ‘powerul personalty ‘shows the negligence end carelessness existing within the society - when something isthe very best, itis cherished but this isnot the case) ‘Queeny nor the Shebeen. ‘Sam and Johny soem to represent tno excremes of Baste om si wore molded by te apartheid. Sar aceon the ee ° opp exploitation inflicted upon the backs and attempts te serves Ossery «nal iy het 2 Reis satctage ay 2 Ritets pra’ ater aca y \ 0 7 3 Bron rromentar escape om ther biter lives. Hels us none ees conered emerhy ole money be does meraaal — — Corea ang salvage fom the pockets ofthe poor srcanesess © Jotmny onthe oer Rand (he oer ‘over-senav! me "hereby rat ayer the pact, eszeciy notice werd eed — . - play when Queeny reveals her past), proves to be — — Ware inate cetarslye and carng way too much about aecple and their override amanatolsuntiety + Wart booth pao og Ieomantang eer” pede rhe Desestcte aces and hanes woman within society. This was partcuerly proven by the ieaewoe 5 lonvamt ita perc cock ecd cen, discarded Queer as soon as she entrusted him rsered as on nso | atomainden reveal her past. . nana * Query ute epee es SS a ent Shy an eat and Som rest, Tis ends memo tee sats Se, , Socctemtntwtne geod ently mar bacestems weve = semen . See =e _alons glimpses fore audience ino restrictions anc burdens ‘within the black society. Each character aiso experiences anc ‘struggles wit a citferent socal constraint whichis stam from ‘ne apanneit ‘Staging and Settings: ‘A shebeen is anilict bar. usualy present only in ‘ounships as blacks werent allowed 1 enter normal pubsrbars| {Shebeen. 2016). Queeny ss located n ona cf the Port Elizabeth “owinehips «which is where the play is set. Dy Nongoge is wisely cut down to 5 actors andis set at a ‘single time place and acton, confined 'o ona signifcart sot. The ‘Shebeen is described as ne very best but neglected’ and this is ‘aparalel to Queery herseif-a beautful and sirang woman wth2 power perscnaliy’. but worn downy socey and the surrounding rressures ofthe society she's nirepped in. The general atmosphere Ibe dopreesing- surourddby drink tying lrget fer wooe and men scoping forte le few cole they have epend on coche Wi teadrg ie play Queerys Sheen seemed bea rapresertaton (a gamerng of lhe dsress and Gastuion people experienced tha npn, ac eanataly te oprenion they are expend te. Teove edagrar on te rgtt presenting the mpotance and Carns pa ga ‘Smbolem of color wihin the play, Ths is sorebhirg arti. mewn Eighasioe cng te poy. be spl Une end me ogee erty tem importance of colour jumps out at me, it represents a hope for the > "79" posters tesa haractars-eepecialy for Quveny and Johnny. want clout renion_tamte ronment tay 6 fexremey nctceab, and amos signty OU of place tw mcstol Yor nsnmaewensemy oem oer ty wt a the Sheboor,limagine hati | were lo enter Queen's Shebeen. woud be haxy veto smcke, shabby - wth tain o tre tables enc Wht sry rb neta in er prin the couch | also magine tobe nol very clean uth an Stent Se amy rrr brit ee ag brio ao reget ‘osu to pests com tpesny Cony onet ees Tye expored several theatre companies (suchas Punchdrnk) who stow rary uy ott une bao er Ihave utlioed immersive theatre by placing the audience ino the sentv crn raga whic. Sh rv wha 3 ‘ato ofthe play tk hath order or he sudlenceto uly uusnevemtemciny nmmmcior tment ‘experince and understardlitein the townships, placing them Sous bangomttense cnn trore acu Sebeon wil be rcs efetve, Tey cans Posable danke dundes fables and observe the acien rom win the Shebeon. Their apnea tables will also be accommodated towards to ‘aimosphere’ of 4 eter heane on bot anc cry cheat | {tbe decigne, not ectusly dirty), Overt i wilbe avery velar em | fevinglcaton-rasporing te audncs atte Shebeen "+ cam nmr . Resid ins evratin, Semcon tacos Meme “Techniques wat to tncorporate: CS cia eermnoaniainn ‘This play encompastos the sarous tonic of Sromeetrantyed — Sumsttenaanentoine ‘oppression towards human beings. Theretore me message of senaty mug sor fre oesbwey wom ‘the play -presenied through the inability of Queeny to sa: Seetnnntcorety Jenprore he life and constants whic atbercharact's face, treoragey incor bau Seng ree needs to be portrayed in a resistic way, to emphasise the Stogaive ard erator eee cy Hae {fealty and importance of this messago aes acon onybe dures By employing natralisic style - the aucience wl be sroerees 820% ra anew alms io recognise the humanty witha the charactor onan Tee mene ‘within Queeny, Patic, Johnny and even Sarm, and therefore ‘hein otto at be eel sroathy and pty towards these humans who all exist in Senne emt ‘some part ofthe world at this moment (Aison, K. 2003). This “The must be fty of ral Me reset thin te play # ode forthe receyse Bev own hurry wth Bese charactors ately People whorave a congletsy oppneng te om merch ausence‘realisation should hit the aucienoe full force anc make trem motvatec to do something about these types of Iving environments in which ‘who are denied ther freedoms and right human digites lve. | also researched about Aristote's Mimesis - with characters to imitate rel Ife peope. This would be a powerlul too! to achieve a lasting ‘effect on the aucience, fully engaging them inthe action. mou Ike to attempt to incorperate this imitation’ ilusion of reality. Art represents and thereby this play sso has to represent the relity ofthe townships and ofthe stuggles faced by real ving people (iag-nstion com, 2046). Mimesis realism’ naturalist play —» an iusion of realty Influences: I have watched several performances of Shakespeare - including Much Ado About Nothing and Tarning ofthe Shrew. Bot plays utlised direct speech address - delivering certain ines tothe audience, ‘speaking wth ther. This breaks the fouth wal, which often exists between ‘characters and the audience - and for me usually creates some sort of distance with the characiess. When the characters on stage talked to me, {ell oser to the characters who di so, and more invcived with the events happening to them. Through direct speech address | kod the ‘who taked straight to me more than those who rarely spoke to the audience, Thus | aso paid more attention fo the words the charactor was ‘wit nei nes teaving more of an effect. 1 could use this to stage Nongogo - as it wil nave te same effect on the auvlence as Teming ofthe ‘id on me. Nongogo contains a powerful moseage of cparecsion and equality - ard itis via fer the audionce to feel closer fo each character ‘Bay attention to what each characteris saying, Immersive these is what | want to incorporste. | have watched a production by Purchrunk - who include the audience in the action of ‘Production - making them silant observers with the freedom to walk around the elaborate set. | want the aucience to be silent cbservers in ‘shebeen throughout the play. They wil be immerse in he action as instead of being outsice the set (looking into the Shebeen from afar), they’ tbe inside of the bar and Queeny's Shebeen wil be present ll arcund them. ‘I recendy watched The Crucible staged by Yae! Farber (Old Vic theatre company): a production which tered me. wih powerful acing (which gave me shivers), and a gloomy sel to maintain that mystery and ter which overtook Salem during te witch tis. This dark and ‘sets what stuck out to me the most. Throughout the emire production the Guiness of the set persisted and it seemec ke there was a shadow ‘the characiors.The lighting was always dimmed and at tes [ha to strain my eyes to coe what was happening. The darkness mainiained the _mystery and that feeling of rot knowing what wll happen next. This powori effect which was infictoc upon me solely wth the set design ‘he lighting isthe effec I want my sat io have on the audience - it needs to create a sense of destitution and poverty, Thus | believe thatthe Jimportant things to dois to frst of alto immerse the aucience into the Shebeen - place them into the apartheid, And second create a stark ‘between the dull‘shades'of the Shebeen ard the colours which Johnny brings into it jumpstaring the action. | watched 2 play staged by 2 group of high school students ata bar - where thay immersed the audiance nto the play by serving them end other various beverages. This lowed them to fae! as ifthey were actully present n a ar anc! waiched the action unfolding before them ‘simply having a denk. This element of immersion is 0 innovate - and will be exromoly useful during my production. Noagogo is set at a and therefore to further immerse the aucience in the acon and alow them io be present while the action of the piay is unfolding - prorto the ‘beginning ofthe play, hey car be served drinks from the ba. ‘Alay | watched when | was younger and recall to this day i the Phantom cf the Opera on Broadway. During the show there were sehen everything was ser inside the theatre (he actors and the audience 2s wel) and there would just be one sound ecoing across the {chen times eter a clock or ow single ncres) Ths created such a powertul and foreboding feeling for me as an audience member - and| ‘would ke to incorporate this sound device into my production, There is a perfect opportunity to do so atthe end of Act 1 when the clock, that Blackie ecto for Queony, rings. The etago drecton® sta: ‘Blac iss notong te Cook outstretched 8s QuBeNY flu 10 Ner Work ae cUTamns. She is humming sft. The cook nBlace's Nand begins 10‘A powertul ening to Act 1, allowing the aucience to fee! tension, but also exctement forthe events which are going to proceed in Act 2 ‘his point he audience realises the severe conditions of Ife inthe townships and cng onto the sliver of hope with Quseny for a better fe | ‘audience to feel how | felt while watching the Phantom of the Opera - excited for the frthcoming action but also nervous, ‘Overall s this poirt | want the audience te experience the Shabesn, ard fool the oppression through using immersive theatre. Breaking ‘Gown the fourth wall will also ennphasise the signficance of what each characteris saying, and resonate strongly wah the audience. ‘3. My directorial intentions andthe intended impact en an audience ‘Artistic intentions: ‘My main afi intention fr ths play willbe to deliver Fugar'spltia etalation and cite'sm ofthe apartheid as well as launch the ‘2utience Fo @ whiting of sensual experiences of te (owns throvgh immersion, Eventhough today the apathel seems sian, his play ‘enters around cocial opprecion betweon hun beings. Oppreccion sill oxsts within coca oday we sil os! wih racom, poverty and ‘sctmination. My poucton of Nongogo will alew te pileged audience to step out cher comfort bubtle and realise that here ae peoole ‘experiencing conditions such asthe characters inthe pay. People sillivein goverty, hay are sil shunned for mstaxes made inthe past, and ‘utience has tobe more aware ofthese things which may be happening not that far fom them. The tended aucience wil be higher cass audlence - who possess money, and ae rarely exposed to povery. The presentation a |e human beings and the hardshyps wich the charactors foe will sew for tre massage to be that much mote powers! Presenting broken ‘characters wit nc Rope of morovement in tha future will alow fer dvect empamy rom the audlence: even the blacks have tumed against he bck, | want the most sympathy ftom the audience loards Queeny -she s 2 storg woman, wih morals, who is unable to reach her hl ‘Through brealing down the fouth wall he audience wil fel cose to Queery - arc wil fist grow to admire her, and gradually shift to Hking her = ‘when she opens upto Johnny a8 wat the audience, Whe Jovy discovers ofthe truth abut Queen's past the aucience shoud e ‘asitpresents a double standerd agaist the character hey ike most within the play. Queeny dnt eat Johrny ary diferent when ne told her ‘sbout his past anc going rapad by mon. the same tme however ho auckonce should understand that Johnny's inabilty to e2zape ‘i, His esi tobe ‘Coan’ 's engraved inthe culture ofall the backs in he fownshiss Each chracer presets a dflrent theme win the aay wank cotnguon each charactr and ints way portay each treme ‘hem and their overall demeanor. Patick represents the lss of identity and comple disintegration of a human -he sa minor character who (possesses several inpetare monologues about te loss of deny an thus dignity. Jotnny shows the iment anc the burden of his past Ms inabity 0 2ccopt Queeny dospte hot past shows that opprotson i now engraved hot cure. Blackie shows cogradaton ofthe population ‘he dependence requred for hiro survive. Samis the dpicton of the survivors who are molded by the constraints - he is hates by he bye isthe only one who seems io end up midly unafected. Therefore these themes willbe achieved tough each incisal character. Since there are ony five characters the audience willbe abe to focus on each ane - and remember what e0c> one has said. The Sot ‘As the drector- | imagine the set io be somewhat lice the ene represented by my finalised ground plan below. ‘The onirance wil be between the aucience and the siage, alowing the audience to see who comes in and out ofthe ‘Shebeon. They are gong tobe inside of he Srebean, observing the action from within -here | will utise immersive‘theatre. The majority of matercis wil be wood and plastic -the cheapest. The Snebeen its will be round and resemble a shack, with 2 100f - what the majority of buildings in the townships looked ike To enter the Shebeen | want the actors to pass through a curtain of beads - similar tothe picture on the right. This wil contrbute to the ‘shabby atmosphere end poverty which existed in he townships, (bead curtains act as substitutes for a door). (The otter entrance isthe kitchen, ‘used Several tmes throughout the play bul the nsie Is never seen) A few other elements adding onto the atrrosphere wil be run down plastic ‘ables with stans, wooden crates. ‘racks in the wall. This atmosphere ‘wil persist all around ne aucience. The sofais always a retuming ‘point of action for Quoony and ‘ereiore sa place wnere the ‘audience's eyes are drawn to -thus it ‘will contribute tothe feeling of neglect ‘by having stains and several nips - a ‘sola which definitely needs ‘replacement The tabie willbe directly ‘center stage as this isthe tabie win ‘he red table coth, symbolising hope The counter is where Patnck’s action is going to dominate. He wil bbe alone atthe counter «lost and hopeless with the oss of his idenity Symbolism in the set wil be ‘contained in colours. Tho two images below on the let are what! crew “nspiraton from to understand what a “Shoboen looks lxo. There ic colour ‘but it is muted win gerne and cit ‘want to increase the lack of colour - |e Quoeny’s shoboun thore to be a er cr choe thonts: ‘The material most used wil be wood -for the bar and the ape table and for he audionce it wil be plastic ables and chairs, (The capacity forthe audience wal some court wilbe always tnaed ot BAY) Yhstetore wien Joheny wakzee. Go tw cheapest 40 people atone show) ‘Ato We Shedeen seting bright blue ‘and red table cloths - they wil seem out of place. Therefore colcur wil symbolise hope, and the lack of signifies that there is no more hope of improvement.Before the play begins | want the audience tobe offered drinks by a backstage workers, (not Queeny 20 thatthe introduction to her ‘at the boginring, mairtaning the impact}; drooty influenced by the production | watched staged by the high schoo! tudente. Thc wil further ‘the audience in - with the entire action of the play unfolding wile they are having a casual dink ata bar. This fourth wall wil be eliminated - and ‘characters wil soy be other people present at he bar as wel. The audience must have the feelings of frustation, anger, sachess and ‘disappointment ust fo them while experiencing wity Queery that loss of hope, and powerlessness to improve and change her lif forthe beter. ‘Thus the se ill eave a powertulimpect on the audience, just the The Crucible's set let on me. wil encompass all the living ‘the blacks inthe townships - experienced by the blacks daly. The are experiance of these condltions for only an hou, willleave an impact onthe. audience - hortor that such condlitons til asist and iit the potential of He Props: ‘Some other essential props ae a red lable Goth. The red table cloths of utmost significance asi represenis ‘the entrance of hope and the departure oft from Queeny’sife. When Johnny corres i, he sells Queony the red table cloth ‘2 stark red colour againe! the muted coicur ofthe sheboon (al ity with tingee of grey). Johnny adviees Quaony to purchace ‘he rad fery and poweriul, colour instead ofthe blue one which she intaly picked, This provides a strang hope for the audience and the fst introduction of colour io the entire play. One the night is an image of wooden crates with alcoho, which ‘vil be dispersed al around the Shebeen - adding onto the mess anc te neg gence. ‘Queeny’ last ine is. Man? There was n0 man here.” dear reference to Johny - whom she wants to eliminate from thor memory. Altar ths I want Queony to go over the table naxt ic the couch (seen above in ry ground plan). remove the ‘raps onthe table at that moment (champagne bottle and glasses - for the celebration thal was aboct to happen), ané Carell oid he red tablecotn Jonny gave he’ atthe beginning. By comng so she removes any lmprovernent from her fe, This isthe ultimate cosing action and wil eliminate hope from the audience 25 wel, Removal of colour equals elimination of hope ‘The Presentation of Colour : 2s mentioned previously, something | noticed whle raacing the clay isthe constant presence of whilst there isa presence of hope in Queeny’s Ife. Colour represents hope and the beginnings of something new. Onthe rights an extract fom te script where Johnny brings beck a sultase fl ‘materals of diferent colours and Queeny’s excitement is evicent to the audience; the rainbow fils +ro0m with colour and Queeny with possibiltis of whore the new business wil take her. Colour ita commodiy in the townships andthe rapid abundance of itis joyous. Johnny's suitcase is an assantial ‘rop, filed wih allthe Bright Dues, greens, purles, yellows and and averal rainbow, Lighting”Sound >My intontons for lighting within the play Is simple. Lighting isan excellent way to delver the mood ‘want to prosent during the play. The lighting wil bo muted because the soting is a Sheboon, and trave dimmed tghting (r addition Queeny can rot afford expensive bghting which wil lluminate the ‘Shedeen instead i's senoly several ight bulbs dispersed around the Srebeen), The ichtng wil {9 add onto the dul and sightty depressing teeing. This incase of brightness wil correspond with Queeny’s increasing hopes that she finely hes the opportunity to change her ie. Act 4 {rvzhes during the evening, however Act2 bogie inthe moming, When Jonny finally comes the sun will almost be at 12 pm (he brightest). Abegins discovering about Queeny's past the sun stats setting - and the ighting within te play willbe becoming less bright Finally when all hope is gone and Queeny resorts back to her past. he inital lighting is back (as in |begiming). The dull stmosphere will be back once again, identical to te way that the play began (slightly dimmed a or a bar) ‘As tho piay progresses the ighting becomes brighter - corresponding with day time and sunlight. wil use Loo effect fter number 763 (wneal) - which is the perfect wash of colour for a suny day (adding warmth) to [with the increase of hope. When the peak of hope is reached | wil use fiter umber 179 -a bright sunlight fw the most wartith. The fiter whic tne action ofthe play wil start off with and end with is 601 (stver) = itis the dulled wash of grey. achieving the sense of intense darkness (LeeFite's com, 2016). | was thinking of alsoincerporating spotights during the monologues of some characters to intorsity the attention audience on them (such as Queeny's monologue about her past and Patrick's monologue about is children) but | against this because | want the action ofthe pay to glide on. fel Ike having @ spotight fade out on one -wil reste a pause Detween what tne characters say. Also these large speecnes are almost alvays plugged ino dialogue - and a. intorupt the ciclogues batweon two poopie. ‘Moving onto sound devices bey mentions above: the clock is going o be the sound device which creates @ cit anger for he a Jend of Act 1 - 2 hopeful awaitance forthe improvement of Queeny’s life - which never happens. The ringing lock willbe the last sound the hears of the fist act, ending in an echo after 12 rings (12 o'ieck at night), which is a sound filed with mystery. This is the only sound want to incorporate. | was considering puting in background music or sounds from outside the Shebeen io possibly contribute to the however for me personally -this type of background music is usually unnecessary, and at times draw me away from what is tolisten to the music. This is something | can not ris fr this particular production, 2s the elements need to come together to cane poverty and fe oppression unfolding in front ofthe audience Each character inthis play serves to represent a diferent ther’ problem that he apartheid has created. The designated therre shoul ‘expressed by each character - and leave the audience to dwell on how it affects each ‘ofthe population. ‘Sam is the most disixed character inthe lay. To the auchonce’s cisappoinirent he is also Jenly charactor who cnds up ‘conten’, possescing salistactionin whe ho is and what he doos living. Trus the aucience see that his Ife - stealing money and not caring about who is In the process, is the only way %0 survive township If and remain sane, This provides a really forthe aucence who were opefu tat GQueeny would prove Sam wrong, ‘On the rght are pieces of clothing | want the character to wear. This goes along wih the of 1950's - as these are fay classe pieves of clothing. Sam must look stuck up ~ to resombie the higher classes. He exer's a vicous presence in Quoeny' ie, and the apartheid, resticts her from impreving her ife. The hatroc ho fesis towards Johnny [be easily soan by he audience through his scheming to crivehim out of Gueeny $s life. Around Johnny he wil act ike @pitfu chic - radiating ‘hal she spaying altenton t> another man. Ha wil become mere defensive and ‘protective’ whan Johnny is around, obviously‘uncomfortable, whereas when he swith Queany his stance is more relaxed - hands in his pockets (obvious atomots to cortinus impressing har ‘vith hs money, and other materialstc things - but she is clearly not impressed). In order to get what he wants - Sam ruins Queeny/s hops of. Improvement tizough manpulaing otver charactors - in the end ha isthe one who has the uposr hand, and thus the character most disliked is ‘simultaneous'y most powerful, showing the extent of which the apartheid is embeded into the culture Patrick sa jitery and uncerian cheracier, the one who the eudienie feels most pty ‘owards. He is completaly rundown by te ie that he was bor into and he represents important ‘hemes of ident. dignity and pride, which there are a lack of inthe socety. His nes about te difieuity of having chiéren should depress the audience and make them feel oie for Patrick's famiy anc thereby thousarcs of other fay whom he represents (lator iecveted as ‘one of my mcmnents). The charactor should be a small ran who is constaily fidgeting until finaly drunk -at which point he slumps and sits. | want hi to always be fiddling in his pockets “making ture he has 2 few exra coins ‘a cortinue drinking. Patick vill aways be looking around nim, an nis shoulders wil be hunches over - ponraying alacx of confidence ana prise. He knows that he's doing the wrong thing geting drunk again and again thus he truly is ‘embarrassed - but his inabilty to improve hs Ite, let alone his fariles, maintain the need to ‘drink. Patick should stoop under the others -looking et people from below, keeping his Need low. Al of this wil come together to show his powerlessness: he wil always be the character who has the leas! dominance on stage due to his ‘of identzy and pride (he themes which ne represents) Blackie is ha-wled and utlety helpless, wit) an abil to SurvWve in the townships alone. He portrays a macho-ike’ vibe when others ‘around Quoery in clear pursuits of protecting her and appear menacing this willbe the audience's Frat impression of Blackie). However when ‘speaks io Guseny. she gains allthe power in the scene, and he s‘onps under her He is anaive character, needing ‘someone 1o guide him through fe. His vocabulary is limited due to his complete lack cf education and his voice wil De ‘slow and dravly - unpleasant lo listen to. He represents how oppression is engraved in the culture, as he has been ‘shunned by other blacks from a young age. Johnny stats off as 2 characterful of hope. He wil be business tke, his waik wll aways be purposeful - ‘attempting o move forward out of tho past. Johnny is put togcthor and overy can, and will wear a crisp white tshirt ‘and Kinski pants - thus being the most clean out of everyone in fe room. He wil also have a handkerchief in one of his pockets. Ths handkerchie's going to be somewhat af arock 1o Johny -he wil always be wiping his hanos with & = ‘but this wil be an absent minded action. He should be carrying an old ragged suitcase fullo bright materials - this symbolises he brightness and the hope he brings into the Shebeen. He recognises people - ror the beginning he sells Queeny the red tablecloth instead ofthe tiue one, recognising the power and control Quaeny poszessee. Hels an entrepreneur who has the poleral to benef the communty ang improve lie inthe townships -'! got so many ideas in my head tm bursting’ (90). The aucience should hate Johnny for hurting Queeny (achieved by the audience's empathy and respec of ‘Queeny -estabished much earier and reinforced by her derire to escape the gutters). and ruining her prospects of Improving her future (as the audience's association witn Queeny should be stronger than with any other character) ‘Afior finding about Queeny's past for Sam's plan Johnny willhave a 130 twist in his etttude, At first he wil attempt suppressing his changed:_aithude towards Queeny but is suppression shculd be obvious, he wil speek ina lower voice, avoid Queeny's gaze and his posture wil be ‘igi. This change of heart towards Queeny’s pest wl once again reinforce his dese tobe clezn and show how his past stil haunts him. ‘tepresenis how the blacks have bagun being opgressive towards oUner blacks -he pushes down Queeny though they both desire Deter “could potently help each otver achieve tat dam He describes himself as apiece of trast. end impbes that Queeny ls one too. At the end of he play Queen even goes as fer as to ‘hat {hel Is worse han Sam - who just sighs when he passes the grave, [dchnny’s} dug cup. This cimnishes Johnay in the eyes ofthe: ‘and he should be viewed as iower tan Sam (as Sam has never downgraded Queen). his is because of he audiences associaton wih ‘Gueeny; hey have obse-ved her as a woman wit desires. with ‘auts - and she s the one who opened up tothe aucienoe ros!) Through Immersion anc being present in Queery’s Shebeon - she wi! be the cnaracter who Is most eal an hurman-ke. The smal opportunity she Jaken away once again bythe people she surrounds hersetf with ‘Quoeny isa craracier wth whom the auclerce symoathises wth most. She is aways ‘defensive, afraic of opening upto peogle, but never showing it thus remaining cold tothe majorty {estabsishing relationships on power anc contro). Especial inthe begining pert of he play - she ‘Paris’ at people (Jonny when he frst enters. Blackie, Panic - who disgusts ner. and most ofa ‘Sam), Even though snes rude to both Blackie and Patrick - she stl respects thel de, realsing its importance inthe society tey ive in. She becomes furious when Sam does not cal Blackie by hsname, lashing out t Sam and defending Blackie another of her admiratie qualies. Al ner ‘esponses to Sam should be sharp - and she barely looks at him, she nas no me forthe likes of ‘Sam and Patnos |Win Jonnny. she has an obvious change cf demeanor - her facial exoression soften, and she's ‘more wing to sme when she s wi nr. She snov look rim strait In te eyes as she cows. hhave time folisien to hi anc interested in everything he says. “There wi to be an emignasis on Qusen/s desire to be a normal woman. Al'sve wan Is “aman who is going to reat hor win the respect and the dignity that she doserves, which has not ‘been the case inthe past with he kes of Sem suraunding ner. Her change of aritute wih Johnny wil srow tis wilingness 1 be &houseute’ and to Sette down. The two extracs fron the ‘Sonpt on ne ror present naw she has been cenied her nghts of being 2 tespectec woman, and ‘now lated sheis when Johnny confms that sne realy s a wornan) ‘On the rights an extracts whicn | want ie audience to pay aterion o as here Queeny ‘expresses her change of heart io Sam. “This is aso anoiter section of he sonpt where Gueenys deste to change her! teinforcec tothe audience, increasing er acmiraton, ‘Gueeny isa beats character but atthe sare me obviousty tres. She tesembles her shebeer. ner troublesome past expressed inher fac features: ‘doesnt change her expression often - always held in a rown, with ficult to {Ris rot an expression she often has. Throughout the play she frequently sits on ‘ouch - where she wil reach lor her ogartias and smoke. During tis ime, shai(3 feraway gaze - disconnected from other acton happening on the stage atthe same time, dweling on her past. ‘Appowerful moment {one that algo reveals Quoony’s cote ede is when the eudionco diesover hor roal name which ie Rose is such an uncharacteristic name to be given tothe Queeny thatthe audience come io know. Queeny radials power Rose represents something sot and dette. She reveals her name oniy to Johary - this was a caretuly planned out showing that she puts her tust and her vulnerability into Jonny. Queeny’s outft wil consis o ight, summer dresses - with lite eclour, mostly consisting of arimel pints (eopard ger) ‘along the ings of the dress and patterns on the rant. Firs of al these consist of muled colour - contributing to the the Shebeen. And also when | picture Queeny. | picture sirple cress simiar to the one onthe left = there isn't much ut into te outtt oy her bu she stil looks presentable (not Ike she would care much). | also want the characier to wear al cert which covers her shoves. This wil be an atienpt io escape her past asa prose, She wil continuous draw i her choulders trying tc cover horslf a ign that sho i stil afectod by hor post Al thrcughout the play Queeny will catch onto every word Johnny 's saying he is her feline out ofthe Shabeon lifestyle its constrants. Her atte towarcs him is complstoly diferent than towards the other characters, because to her Johnny represents aie beyond the cpptessions so far experienced inher ife. When Jonny shuns her and calls her ‘it, tude changes towards nim automatcly. She regrets opening up to him, she regrets allher actions (giving money to for tho startup business) ard resorts to balioving that nothing good can come. There wil be a difronce inher stance ~ ‘again provocative, mocking Johny. Har change is instant, and all hope of Queeny changing har ife is wipad away from th {wno would have been hoping that she would succeed anc oppression with the typical happy ending). Queery hardens once becomes defensive and retaliatory, she opened upto Johnny, to the audience, and he only lt her down, Inthe exracton the right the stage creciors state that she wil put lipsick anc earings - bon of which are associated with sexually. Jence again be untoucnatle by al, her defense mecrarisms brought with 2 faked ettorpt at enjoying hersolf while inking and being n Queen ‘All nese ideas wil come together to reinforce povery. end constraints cf the apareld on the biacks n townships. The blacks ere in these five characters - of we each one represents a different theme, a cifterent lritation. This shows the audience nobody is the apartheid which is now embedded nthe cuitue, and engraved in the behaviour of the blacks. The intorded impact ofthe play ~ bulld up of hope in the audience raralaling Queeny’s sing hope of improvement and change, This willbe achieved through tha and admiration for Queeny as 2 hurran being. When this hope is crushec ~ the audience's respect for Queeny isnot crushed and they willbe lft neartbroken by the everts ofthe play + ther nil expectations of ner escaoing the Snebeen constraints and thus the deroisies | would stage two moments ofthe play ‘The first moment of theatre | chose to stage concerns the theme o dentty expressed through Patrick's inal to give his Ciren: name on page 6810 71, This revolves around one o! the most pomerful themes inthe play; identity is something | want to emphasise to‘audience as | believe itcan have a dowertulimpact and motivate change. This moment depicts Patick drinking himse ino oblivion whie his wile fs giving birth. The most devastating partis that tis rot for the lack of cerng or his wi or children, its his {for not being abla to provide fr his family Ske any ather man would. Each character represents a theme - and his theme is the inabilty io determine your own ident. Suppor’ price and dignity , Pack nas a lack of Doth, as ne does not Know wha Mis purpose is. (The autience however wil be uly realised pecpe- al possessing some in who they are and what trey have achiove) “The intent of thie moment is oresanate wih the audionce - expecially the males, are al abe to provide fr the families, act do extra (such as travel, buy toys, etc). eis a contrast to te aucieace, Sam is almost mocking Patrck, nat caring, ard not even uncerstanding the severity ofthe situation, reinforcing dsike towards him. “This moment bogins with Sam puling up a highchair and jning Patrick at tho with another chink for him (Sam keeps forng drinks down Patricks throat to get money. Patrck wl be slumped over the courter sitg or Me high chats, wan a shot glass in hand, and several ther cans of acho nex! 10 hin ~relnforcing his drunkenness. be @ mament where Sem locks at Patrick to check what state of drunkenness he's in, then looks around to douile check that Queeryis stil nthe Shebeen on the couch wants took sunero* fh comparison to Palrck - tough that a pit comparson to make). Only ater making sure that Queeny is sil tere, does he launch into the conversation Iderity is engraved in the play, itis something the apartheid has taken away from townships. In this moment identity is refered io continucusiy through the mention of ‘lsciples' and how Patrick only considers names of dlscples for nis ture children. They are powerful names, of peorle who have been adriced and are sil admired. Patrick that gving hie children the nares of auch admirable peep, wil nelp thom i the futuro supply thom with afar share of dignity. Patrick's desire to find a perfact name contrasts wit Sam's carelessness towards matter fering names tke Jk and Coke - which are qute frenklydisgustng names, wil never eern respect. Sam's csrissal, end Patick’s crunk atempis to think of names molds this scone to allow for immance sympathy from the audience. It opens up the privleged audience to problems which have never been experienced by them - with he ‘only questions they ask when naming thelr hd is whether is apretly name. ‘As soon as the conversation launched akou his chilcren's names, Patick perks remains suomssive. Throughout the scene the power willbe possessed by Sam, he Will loading the conversation and mocking Patick and his name choices. His posture wil be‘more reared ane concescencing faring bain he chal, and seeming very dntersted "he conversation (almost roreting tha ver sare i). Petre he ony couple coi in his pocket which all he earned tht day (imagine him working ata factory as the majty of men worked in factories for a inseuse wage, vith hme safty hazards - endangering theives) Tomo cave toward hs aly. ha ‘ary around a ceretuly folded but withered proioprann of hm and is ve chren. Throughout the ply the otog-aph wl e Fequenty tnd looked a by Patricks atthe beginning of tis moment - eoeorbed Infis own word thinking. lhe very moment is wifes ving bith fo ‘scther cil - ard hie amy the main thing on he mind that night which even dking can not ake him lorgel. When Sam ee beside ‘he will hang him another shot glass in an ater © get more meney fom Pack aggressively snatch the protograph out ats hard observ 4 second ond hanci back to Pack. This wl show Sans complete ack of respec x oer huars, a Patic’s nab 1o defend is Sem coneiders heel euperortoPetick, and twe fxd ta wasle of tine taking 10a pul crank. Tue 8 he convereation ‘Sam's dsinores! rows, and he keeps looking araund at Queen. to check on whal she's ing ‘deruty must De Yanslatec to he audence wi fis momen and re most afecive way to do SOs through esonating wih be the sucience wih he tve and protectvenes towards helt cen. They can empathize wih Petrck n thet mul love, However trough ‘cheering Pate nab to mania a fal, deepte he efforts and hie dese todo tha, the parents wil se the ffcutiestha he racial ‘seprepaton has caused fer oaerts They are unable to prove sutfcent for thelr chicken which the highest level of oppreselon end njstice thet can be experienced by many parents. deer srg. Og Meare the only her person inthe room ix Gueeny, who SO Co ‘wi be sting on her sola, smoking a egaretl, ans alleatng betwee ‘ering into space and reading « megane on her lop. (Therefore fie Mo Setonepcscocuped witb he el and te br) Tit one abe errs wees coun oe sla, nd staessbeertindedly nt space birking stout herp end om er Mees uted Tafa re Quoony’s comfort spot - where she fee's most comfortable at in her Shebeen. ‘monet Sem moves to Pal Mita port tne toh red be mervntcsus le agit Sorte ang {around 11 - before Act 1 ends), depressing the moods of the audience with Beate erst Parc ‘This moment will show the eudionce what the life of 2 black parent curing the apartheid was, how the oppression has limited his prove for his family and fve up tothe status of man. Patrick lacks pride, 8s ultimately there is nothing to be proud of - and he wil stoop ‘he rest ofthe characters. tis direct convastto her ie, where having ctuaren isnt a burden but joy ‘The second moment of hears ¢ depicted below. The frst lin ofthis moment of theatre is by Johnny (tis on the previous page nat ‘below, bu! the ine following is Queeny’s reply on te script above): oti: “lsn'ttnere anytning you want, Queeny?” 4 ‘The yast cl he ines folow on the image ofthe script unl Gueeny/s Be which takes us back to the theme of colour which represents new! ‘Queeny: I's the stort Johnny... the clean start Yours as wol 2s mine. Ard | stil say they look lke the rainbow. | chose this moment because it shows the audience wat racial segregation ‘orcas the blacks to do. The audience discovers John's ‘how the trauma affects imo this day. The end ofthis moment is when the audience's hopes are raised rrost- nope that Queery wil be able‘escape and ‘conquer’ oppression. The audlence entraly believes that Johnny and Queeny wil @zch other out ofthe gutlers, and have @ inthe future (Queony wil finally be 2 wie, and Johnny wil be adignifed man) - tis is implied hvoughcutthe play, and al the end ofthis Johnny and Queeny wil bein the mice of the Shebeen, with the suitcase filed wit bright materia in between them. The last word f this {is'rairbow. symboisng the hope of starting up the business. uring ts memont te only Wo [people in te Snebeen are Jonny arc ‘Queeny. The audience will experience ‘buildup of torsion between Queerty ‘and Johnny as they fd out events ‘which occured in thor paste. Unforurately Jonny's past stl ates him and leads him to ruin Queeny’s ‘aspirations ypen finding out about ne past as a prostiue later on inthe play. “The tension wil bud up by Jonnny's ‘explosion of ero, tearing down his previously put gether sett ‘tthe beginning they wil be ‘Seales on tne coucn. When Query ‘starts opening up, Johnny lean in ard {stensatenvely, supporting rer ane ‘encouraging hero open up though ‘nodding and looking straight ot hor “The conversation continues and ‘reaches the ond of he fest page where ‘Queeny says: you were trying to ‘erget something but eople kept reminding you of At thie point there Jsgoing tobe s fong sence -witn ‘Queen 932ing un a Johnny ‘expoctanty, wating for a response ‘The slence must seh outto the pair where becomes uncorfortable ‘or hi aucionce and tor Queeny. Daring tis slence Johnny looks away. no longer paying atertion to Queeny, his eyes gazing over as he recalls his past Whon Johnny bogins taking, reveairg whathes hopsened 'o him, tension wll bul up simu taneovsly evoking empathy from the. {nhs rst speech (on te top of the rot page), Johrny Begins opening up. He wl bur oUt he words Slowly and quiaby af t's anf to tak‘and he wilt dae to lok at Gueeny, deeply ashamed of hs pas. This difiauty of voicing out wnet has happened fo him wil cause the ‘ucdence to feel sadness. His previously confident ard purpasataldameancr wile wahed away and he wil sump over. Talking about Ni ‘must be physicay painful wo hm, ara he should crnge anay end become ‘ster bby hugging heres anc protecting his body rors any posse physics! conte. ore The two ines was aiid" ardSeverteen years old’ shoud be sad culely oat ‘and numbly.Ibeteve tat to this Gay Johnny nas a sense of ésbelie hats ‘2ctually happened to hm, but ha memeras ‘ermine that realy di. Tie wit ‘shook the audience - evoking 2 sense of disbalet a sucn aloes are ‘unimaginable to ther. Whe speaking about dit Jchnny wil sound biter and splat “twishad to much ofitin the past and this oxclaine hs queso fd ‘dear woman, and overall avoid dit at all costs When Johny spts cut the word Money" wil pil standup from his ‘seatod postion on the couch handle, almost Ike an explosion ofr within him, fun cin Won re ‘sbelet, shock. loathing towards his parents fr giving hm Eway' therrines. ‘baer ern oubpobsvibv Pe ‘Queeny should jolt back due tothe unexpected movement and shift the side of the Reece cow ‘couch, This wil creat a data between fhe two charactors and ceala an create ‘oftension wit the Shebeen et by the audience as well. Alar he spurs ou he wore tere wil be a pause, when Johny cams down, Nis breathing slow: down, and he looks bock at Queen and continues taking (sill standng) When be says thle fellow cant tke no more, Be fo-tan moving his haad trom det side-on tha brink of ar ‘Queen wi be complet Musere, she wil have an exeression cf dlsbee! and pty her ace, she wil grasping arm of her couch = fingers digging rt the material, She hes never been pul ito a stution like tis, end has nc Mea how o dea! with k 20 abe wl remain the side of her couch, wth ‘Okay’ and Johnny as the nly words to fer hr, The audiance however should bein he same exact postion a Queeny, unable to come up with a response due to the simpie dsbelief of it al, Jotnay is completely unable to stop, ne doesnt hear Queeny’s words, and begins pacing i ariess cil, sil shaking his Nead end cought upin the moment, rzaling is oast At this pont Queeny just alm him down, ard she musters up the courage to sand up and esimly says ‘Okay Johny’ Ths ony sets hn of mre, he yels tthe ‘Stop saying that, arc then ne looks up at her and continues the line. He warts to carry across his message to her, and he feets like she just sooartgetit ‘When Quoery exciairs Johnny. this is a pure expression of shock, and dba -aven Query, wth her tumulious pasting wih has not come dose to such suffer, and shocking conctions of ves of some Backs, When JOM says Eat Ws tke dogs = the people who worked atthe mines end raped hin. Th dnvishes slacks even further they are no longer even human, an nether Queen {he auclence is capabie of Daleving that hurr would do these ings totter humans ‘Durng Johnny's st ong speech (Yes, dogs, or sometning...) Ne ws get choked up, as cleat there are consiant reminders of what has bron through nthe scity that he nes i and tha! triles hie To this day algo alfects hin -ezeating an inal t improve hie Me later vansters 9 Queory. Towards the ond fit he begins to calm down and breathe avy - showing he struggle of these memories. regains conto of tise, composing hinseiback ote ‘businest-the' Jonny we Know, tere fs along pause for Queery to be able 0 {hee ottor ed of Johnny‘Meanwhile Johnny will walk towards hie sutzase which wil be placed from the beginning on tho left sido ofthe counter. He wil pick ‘and bring it ack to the sofa. placing it onthe table with the red tablecsth, opening it and fedng comfort inthe colours and materials. During ‘Queeny looks at Johnny making sure thet he is aright, relaxes and sits back down on the couch beside Johnny, comfort and hope is found) “each other's presence. Queeny oaks towerds the sutcase, and marvels atthe colours - once again confident that iogether wth Johnny they ‘overcome the dificulies and achieve their siert up business. Aeris pause she says the les! Ine ofthe moment ~ ending wit ‘rairbow ‘Johnny's sutcase is an essential prop in this scene and reeds to be filed with & range of colourful materials {orhis and Queeny' star-up business - the hope for their om honest source of money inthe future where they are “heir own bosses’. The materials rrust include every colour thats listed in the script (Queeny's line when she is ‘focusing on the colours’ and rrore as Queeryy describes it as a Tainbow). Once again te significance of coour is ‘recognised and there is @ possbilily ofthe business actually working and prospering inthe furs, The maieias ‘and colours wil calm Johnny down, he fads reassurarce in ther as they are the hope for his future business. | choco this moment because it onde with hopeful note, leaving the aucfonce excited fer what may come in ‘the future for Johnny and Queeny, without any suspicion of he characters lives degracing in the near future, Johnny's speeches about his ast, and the emctional turmoil is creates insite cf him. causes Queeny and the ‘audience io empathise with him, and understand thatthe apartneld is damaging individuals trough inside out “Johnny's complete loss of composure, his loss of confidence in himself through striking ino himself wit depict the ‘trauma from his past This rapid increase and decrease of te-sion, will opan the audience up tothe pasts of these ‘wo charactors