GOOD PERSON OF SEZUAN
SCENIC FLOW 08/29/10
Prologue: CITY GATES and SQUARE
My imagination takes me to the edge of the old town, inside of city walls. This is the slum district. At night, it is a red light district. During the day, it is a crowded, merchant bazaar populated with cheats, liars, and homeless É the underbelly of Sezuan City.
A square or open area with cramped, dark alleyways, 3-4 first floor shops and Shen TeÕs brothel on the second floor.
The Prologue ÒarchitectureÓ can help set the stylization of the show. At this point, there are still several unknowns that might significantly shape the tone of our production. Music is primary in my book. The final text will also better help me shape the scenic flow of the show. All this being said, I believe we have plenty to work with and on. Right now I can see a functionally abstract sculpture with defining props for scenic locations. This world might include Venetian blinds a la ÒBest Little Whorehouse in TexasÓ to open and close on the second floor brothel. This scene might also include a moon fly down as a sun flies up É p. 13
Scene 1: LITTLE TOBACCO SHOP
The Square outside the Tobacco Shop and the Interior of the Shop.
The Tobacco Shop is an empty interior, with a backroom and empty shelves. A door needs to shut out the street and be locked. It must sleep 8. It needs to look hopeless and cramped.
Interlude: WANGÕS UNDER A BRIDGE
Wang dreams or has visions of the Gods giving him guidance. They are the chorus and he is the storyteller. The devise is his dreams.
My imagination sees Wang is a very tight pool of light É maybe a strong back and strong up light. By isolating his area lighting, we can better control the dream quality for the Gods. Right now, I see the Gods on the second floor (Shen Te area) with a screen in front of them. At the outset we might project a film on the front of the screen until the Gods interact. They might be shadow silhouettes with distorted images. Maybe it is a paper shade. Maybe it is a scrim. My thought is that when the gods become the judges in Scene 10, we fly out the screen to see the actors.
Scene 2: TOBACCO SHOP (repeat Scene 1)
Shop needs to be empty, with 8 bodies sleeping here and there. Much of the scene is about the walnut shelves the Carpenter has built, etc. Shelves need to be portable and functional. During scene the shop is stocked with tobacco, cigars, etc. Door needs to be knocked upon and give a sense of safety É maybe several locks. Irony of the Nephew / thief getting inside the shop only to be arrested by the Policeman.
Scene 3: EVENING IN A CITY PARK
Willow Tree and Rain É Scene.
Given a possible stylized approach, I see a flat (metal?) Willow Tree sculpture with a showerhead plumbed into the tree for it to rain. Lots to consider by a possible direction.
Interlude: WANGÕS UNDER A BRIDGE
Repeat
Scene 4: CITY GATES and SQUARE
I see us returning the Prologues arrangements. Only now it is day and the Merchants are out. I see tent like bazaar booths opening up within the unit set. We should have a barber É opposite side at the Tobacco shop. Entrances and exits are made into the barbershop. Shen Te must enter and disappear inside the Rug Shop. Only need the outsides of these shops.
Interlude: CURTAIN
Song. May not use the Main Theatre Curtain. Perhaps we lower a large sheet or appropriate banner or ??? We have a large soiled beige china silk-like drop that we used in ÒUrinetown.Ó
Scene 5: TOBACCO SHOP
The shop should show signs of increased wealth and business. Counter, seat É maybe the backroom curtain changes from burlap to broad cloth.
Interlude: CURTAIN
Scene 6: SIDEROOM AT A CHEAP RESTAURANT
This might be done with hanging paper lanterns and a few ÒrestaurantÓ props.
We need a table for eight. The waiter needs to go back to the kitchen. Entrance from the outside.
Interlude: WANGÕS UNDER A BRIDGE
Scene 7: COURTYARD BEHIND TOBACCO SHOP
Clotheslines, laundry and a cart for belongings is scripted. There needs to be a door into the Tobacco shop. We need to place 3 bundles into the cart. It should feel like a tenement slum backyard. We need some sort of garbage container.
Interlude: WANGÕS UNDER A BRIDGE
Scene 8: TOBACCO FACTORY
This needs to be a sweatshop. It should be cramped. On the other hand, we should sense that the Tobacco Shop has consumed the neighborhood. If you use a sculptural unit set, I can see factory workers on the entire set doing tobacco factory business. Maybe a fly line of industrial shaded lamps drop into the space shedding a dim sepia tone. This would be in contrast to the next scene. Payroll business.
Scene 9: TOBACCO OFFICE
This needs to be in stark contrast to the factory and to the former Tobacco Shop. The scenes transition from factory to the streets outside the Tobacco Shop that is now a robber baronÕs office with leather chairs, a fancy desk, nice carpets and the sort. It is raining outside on the streets. I do not believe we need to have actual rain. I believe sound effects and the fact that actors enter the space with umbrellas will create the illusion.
Interlude: WANGÕS UNDER A BRIDGE
Scene 10: COURTROOM
The Gods become the Judges. I see them on a second level. Chairs and table?
We need a courtroom feeling.
A Pink Cloud descends, picks up the Judges and flies up into heaven. Of course, we need to explore this. The cloud might cover the judges stepping into a secret chamber in the set to allow them to vanish.
Epologue: CURTAIN