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33 Cards in this Set
- Front
- Back
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Scene 1 |
- A large, chunky armchair, covered in dark green leather with padded arms and back. A little worn with brass buttons fixing the leather to the wood at the ends of the arms. - A small oak side table with legs that are close together near the table but sweep outwards as they move towards the floor, with a little art deco ornamentation on them. - A wooden lamp with a bakelite base and a beige, art deco, waxed paper lampshade with tassels. - A bottle of scotch with a 1930s appropriate label and 2 cut glass decanters, places on the side table. - A copy of the evening standard, with an appropriate broadsheet typeface, with articles about impending war. - A bakelite telephone with an old, rotary dialler. - Window hung at the back of the stage (not fixed to the wall) with a blind pulled over it. |
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Scene 2 |
A set of stereotypical red theatre curtains, flown in during transition. Hanny and Annabella sit in one of the theatre's boxes, as if they were part of the audience. |
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Scene 3 |
Same as scene 1 |
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Scene 4 |
Same as scene 1. |
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Scene 5 |
A door is trucked on upstage centre, black and shiny with a large knocker and panels, represents the door to Hannah's apartment, as the scene takes place on the pavement outside. |
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Scene 6 |
Same as scene 1 |
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Scene 7 |
-Several sturdy brown trunks, arranged back to back in pairs of two across the stage (and previously hidden under dust sheets in Hannay's apartment) form train compartments. Each one is big enough for two people to sit on, and sturdy enough to be jumped on. Each compartment is quite small, bug enough for 3 people to sit in but small enough that they must squeeze around each other to get out. - One of the salesman holds a battered suitcase made of leather stretched over a wooden frame on his lap. The suitcase is filled with era appropriate women's underwear: satin, in tones of ivory or pink. The bras are fairly pointed. -The biscuits are rich tea biscuits in a 1930s appropriate paper package. - Green and gold, slightly worn station signs. |
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Scene 8 |
Same as scene 7 |
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Scene 9 |
Same as scene 7. The trunks later double as the roof of the train. |
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Scene 10 |
3 ladders, 2 A-frame and one normal (previously seen in Hannay's apartment) make up the Forth bridge. The two A-frame ladders form the pillars on top of which the other one rests. The whole arrangement is slightly taller than a man. |
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Scene 11 |
No props or set. |
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Scene 12 |
USC there is a battered, scratched wooden door, seemingly barely hanging onto its hinges which has been trucked on. This represents the door to the crofter's cottage. |
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Scene 13 |
A large armchair of worn brown leather, the same one as from Hannay's apartment, is partly covered by a tartan blanket. A newspaper with a large picture of Hannay on the front lies on a rough, distressed oak table CS. Three small, hard backed rough wooden chairs sit around the table. A door USC is made of distressed, knotted, rough wood and can easily be trucked on and off. On a hook in the door hangs a thick black trenchcoat with lots of pockets. Inside one of which is a hymnbook. A window lies on the floor DSL, which people can pickup in order to get through. |
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Scene 14 |
Same as scene 13. |
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Scene 15 |
Initially none. However, at the end of the scene a grand, ancient looking panelled door with a large, brass, lion shaped knocker is trucked on. A large brass bell with a traditional, tasseled bell pull us also hung from the door frame. This is followed a few moments later by an old, worn green sign supported by an iron post, reading 'Alt-Nach-Shellach'. |
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Scene 16 |
Same as end of scene 15. |
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Scene 17 |
A single panelled, black, oak door with a plain brass door handle. It is on casters, and so can be trucked around the stage. It starts CS, but is moved around by Hannay. |
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Scene 18 |
In addition to the door from the previous scene (now USC), and armchair (the one from Hannay's apartment) is truck on CSR. |
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Scene 19 |
An armchair (from Hannay's apartment) and a nice but battered oak table with spiral legs. On the table are: Hannay's coat; a pocket sized hymnbook with a bullet hole almost the whole way through; a teapot and 2 thick, chunky, geometric cups (both made from green china; a jug of milk (made of the same green china) and an array of Garibaldi biscuits arranged on a plate. In addition, there is a window lying on the floor DSL, which people pick up in order to get through. |
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Scene 20 |
None. |
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Scene 21 |
A giant purple banner with gold lettering is flown in, with 'Vote McCorquodale' written on it in massive golden letters. CS, there is an old and battered oak lectern, scratched from years of use with little ornamentation apart from ridges down the front. In addition, there are 3 hard backed oak chairs, looking scratchy and uncomfortable, are positioned in a diagonal line USL. |
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Scene 22. |
Banner has gone, chairs and lectern pushed to side but still on stage. |
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Scene 23 |
Car made from 3 chairs and lectern from previous scene, + steering wheel thrown on stage and caught by one of the heavies. |
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Scene 24 |
Same as scene 23. |
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Scene 25 |
Initially none. During the scene, a style is trucked on. It is wooden and worn with moss and scratches, a typical country style. Later, the McGarrigle hotel sign is flown in. It is flashing red neon, skewed with some letters fused, and flickers on and off erratically. |
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Scene 26 |
The set is confined to stage left. There is a reception desk made of 2 large skips (leather with a wooden frame), with large numbers of peeling travel stickers decorating them. On the desk is a bakelite phone, a fountain pen, a visitors' book (cracked leather, with a signing in table inside. The table is conspicuously empty) and a bell. Behind the desk is a flat covered in faded green felt with a single key hanging off it, with the number 1 written nearly above it. |
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Scene 27 |
All confined to SR (Reception is stage left). USR, a battered door, with whitewash peeling from it and a tarnished brass handle. It is on wheels, so it can be trucked on and off easily. DSR, an artificial fire (principally created using lighting gels) burns cheerfully in a metal grate, all contained within a rough-hewn stone fireplace, with a wide and slightly tilted mantlepiece. It is angled slightly toward the audience, as if the walls of the room are not totally straight. The fire springs to life a few seconds after Mrs McGarrigle references it. Slightly to the right of CS is a single bed with a slatted headboard, a couple of threadbare unraveling pillows, a thin lumpy mattress covered with a slightly yellowish sheet and a thin tartan blanket folded at the foot of the bed. The sandwiches are extremely large, and placed on a thick green ceramic plate, whilst the whiskey and the milk are placed in chipped tumblers. |
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Scene 28 |
Same as scene 26. |
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Scene 29 |
Same as scene 27. |
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Scene 30 |
Stereotypical 'tabs' (red theatre curtains with gold trimming) are flown in during the transition so they cover the bedroom and reception sets, which can then be struck while the scene is ongoing. The footlights are lit once more. Hannay and pamela sit on one side of the stage, in a box. On the other side of the stage, an obviously fake arm holding a cigarette and encased in a green velvet smoking jacket looks out of the shadows of another box. |
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Scene 31 |
Tabs are flown out, signifying that we are now backstage. To reinforce this, a couple of ladders are propped up at odd angles around the stage, and a few pieces of general clutter are strewn here and there. |
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Scene 32. |
Minimal set. A gauze has been dropped down, obscuring up and centre stage, allowing a smooth transition to scene 33. |
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Scene 33 |
Hannay's flat, exactly as it was before (dust sheets and all), making the audience think nothing has changed as a result of the story. |
