| blood_brother_programme_notes.docx |
Blood Brother Programme Notes
Welcome to this afternoon’s audio-described performance of Blood Brothers, at the Grand Opera House. The show is 2hours 45minutes long with one interval. The show will be described by Florence and Cara.
Written by Willy Russell, the legendary Blood Brothers tells the captivating and moving tale of twins who, separated at birth, grow up on opposite sides of the tracks, only to meet again with fateful consequences.
Characters and Costumes
It is worth noting that while we meet the main characters at different stages of their lives across 20 or so years, the part is played by one actor, ie, the twins at 7 are played by the same actors at 16 and so on. Also, the play has a large cast with an ensemble who play several different characters
There are several costume changes throughout the play and these can help locate a scene in time, for example, a teddy-boy outfit sets it in the sixties, a donkey jacket the eighties… Also, costumes are used to convey social status, Mrs Johnstone’s various house-coats, pinnies and aprons contrast with Mrs Lyon’s fitted and tailored suits. Mickey’s scruffy outfit of hand-me-downs contrasts with Eddie’s neat and tidy school uniform.
Mrs Johnstone is played by Lyn Paul, she is a tall woman with short grey hair which she wears swept over to the side and tucked behind her ears, she has a square face with prominent cheekbones and large deepset eyes, there are lines around her mouth and eyes.
When we see her first she is wearing a long grey overcoat and as the scene changes she removes her coat to reveal a flowing three-quarter length floral skirt, with a dark belt and pale blue short-sleeved blouse and black court shoes with a medium heel. When we see her next she is putting on a floral sleeveless house-coat which has deep pockets, tying it to the side. Throughout the play she will wear a number of different house-coats or aprons over her clothes. She also wears a long grey woollen coat. When she goes to work for Mrs Lyons she wears a pale blouse and her skirt is straight and grey, she wears a blue housecoat open over her outfit. Later, she comes to her doorstep wearing a pink apron over a blue shirt-dress with maroon velvet floral embroidered closed-toe slippers. At the start of Act 2 she wears a dark green cardigan with the sleeves rolled up to her elbows, a blouse and a belted skirt which is floral, loose and swings just below her knees. On occasion she wears a heavy grey overcoat, and other than at the wedding, when she wears a red suit, she wears an apron or housecoat over her clothes when we see her.
Mrs Lyons, played by Sarah Jane Buckley, is of medium build, she has an oval face with a full mouth and dimples. She has shiny, dark blonde shoulder length hair with a fringe. At times she wears it held of her face with a hair-band, at others in a French roll or bun. When we first meet her she wears a plain blue suit, a buttoned up jacket and a straight knee-length skirt, with black low-heeled court shoes. Later, she wears a light- coloured cardigan draped over her shoulders and a pink blouse. When we meet her next, she wears a cream pea-coat and white shoes. After this, she wears a floral dress with a swinging skirt, short sleeves and a belt at the waist. When Eddie is a boy going to school, she wears a pale blue blouse and a straight, navy, knee length skirt. When we meet her in Act2, she wears a dark red shirt with a grey straight skirt to just below her knee. Later she wears a brown coloured suit, then a tan trench coat over a brown dress.
Mickey's clothes always seem to swamp him. When we first meet Mickey, played by Sean Jones, he is wearing scruffy knee-length shorts, a large green pullover tank-top which is too big and has holes, over a brown short-sleeved t-shirt. He has baggy grey socks and brown canvas trainers. He is also covered in mud. At the beginning of Act 2 he wears a loose-fitting black blazer, a white shirt, black tie, blue jeans and white trainers. Later, he wears a denim shirt and a denim jacket, then a green parka, then a donkey jacket. Later again he wears a brown cardigan and brown shoes, then navy overalls. The actor playing Mickey is well-built with an oval face and dark spiked hair.
In contrast to Mickey, when we first meet Eddie, played by Mark Hutchinson, his hair is slicked down and he is wearing a well-fitting grey school uniform comprising shirt, tie, pullover, knee-length shorts, grey socks with a red trim pulled up to the knees and polished black, leather lace-up shoes. As an older boy he wears a double-breasted blazer with a shirt and tie, and grey trousers. Later he wears cricket whites with pads, then brown trousers with a pale jacket and shirt with a striped tie. When Mickey wears a green parka, Eddie wears a black overcoat. After this he wears a brown duffle coat and a woollen college scarf, and then a tan trench-coat and suit. Eddie is slightly heavier set than Mickey, with a squarer jaw and straighter hair.
When we first meet Linda, played by Danielle Corlass, she has her blond hair held up in two pigtails with red ribbons and wears a red cardigan over a short yellow dress. As a teenage schoolgirl she wears her hair in a high ponytail, a tight-fitting buttoned school blazer over a shirt and tie with a very short, very tight grey skirt and a small shoulder bag. Later she wears a denim mini-skirt and denim jacket with high wedge strappy sandals. At 18 she wears a pink knee-length dress with a white cardigan and her hair hangs straight. We see her then in a white wedding dress with a net veil. Later her hair is in a low straggly pony tail and she wears blue jeans, a checked shirt, navy cardigan and a dark coat. Linda is petite, with large eyes and a narrow mouth.
When we first meet Mr Lyons, played by Tim Churchill, he is wearing a waist-coat buttoned up and has his shirtsleeves rolled up. Later he wears a maroon cardigan and then a dark overcoat. He also wears a brown sheepskin coat.
Donna-Marie, played by Amy-Jane Ollies, wears a green jumper and red tartan short skirt, green socks, white plimsolls and her hair in two plaits. Later we see her in a pale pink maternity smock with a white collar and her hair in a ponytail.
As a young boy Sammy, played by Daniel Taylor, wears navy shorts and a blue t-shirt with baggy socks and converse trainers, like Mickey, he is covered in mud. Teenage Sammy wears a black leather biker jacket zipped up and collar upturned. His blue jeans are rolled up at the ankle over black DM boots. Later he wears a trench-coat.
The Narrator, played by Matthew Craig, is a significant role, he is tall and broad shouldered, with a chiselled jawline and slicked back hair. He wears a black suit with a white shirt and narrow black tie.
A number of parts are played by Josh Capper, Tim Churchill, Danielle Corlass, Alison Crawford, Graeme Kinniburgh, Graham Martin, Amy-Jane Ollies, Andy Owens and Daniel Taylor. They wear a variety of costumes for different characters –
For Mrs Johnstone’s husband the actor wears a bright blue teddy-boy jacket, a red shirt, black tight trousers, red socks and brothel creeper shoes.
At the wedding do, the men wear dark suits, and the women wear full swinging netted skirts or straight dresses.
The milkman wears a white cap, a white coat, red apron.
Mrs Johnstone’s neighbours wear house-coats and scarves over their hair.
The gynaecologist wears a white coat and a stethoscope.
The nurses wear blue nurses’ pinafores with white aprons, white caps and dark tights.
The debt collectors wear coats and Trilby hats.
The group of children wear shorts and t-shirts, canvas trainers or plimsolls, one wears a cowboy hat and waistcoat, another a black open-faced balaclava, another has a pot tied to his head.
The policeman wears a policeman’s uniform and helmet.
The judge wears a grey curly wig and red robes.
The bus driver and conductor wear green caps and green jackets.
Eddie’s schoolmaster wears a brown suit and black academic cloak, he wears glasses and has slicked back hair, the same actor becomes Mickey’s schoolteacher by removing his glasses, cloak and suit jacket, he opens his collar and pulls his tie askew, he rolls up his shirt sleeves and runs his fingers through his hair.
At the funfair, the ensemble wear coats and hats.
Miss Jones wears her hair tied up in a bun, she wears glasses and a smart dark suit with a white blouse. The men from the factory wear heavy dark coats.
SCENERY NOTES FOR BLOOD BROTHERS
The stage is dark when we first enter the theatre. Gradually it lightens. A gauzy curtain lifts to reveal a wide street of red brick terraces with lighted windows on either side of the stage, with a pavement between. Most of the action will take place centrally between the two rows of houses that are in poor repair, cramped, and open to the pavement. 2 steps lead to the front doors, which are green and have a wooden panel with a brass letter box in the lower half, and a glass panel on top. Each has a fanlight bearing the house numbers. Some of the doors have patterned glass, and one house has a balcony above a porch. The Johnstone’s house is the gable end, nearest us on the left of the stage. It has 3 glass panels in the upper bedroom, two smaller panes above a larger cracked one. At times washing is hung on a line from one side of the street to the other.
The red brick houses opposite the Johnstone’s on the right of the stage are similar, but the middle house represents the Lions home, which is in a better part of town. Their house has an ornate brick porch, above which is a wrought iron balcony leading to a bedroom with multi-paned windows. Their house porch will later double as an entry where kids play, and is used as an exit to the stage right. The proximity of their house in the middle of the row allows us follow the action in both the Johnstone and Lyons households.
The back ground will change as the show progresses. At the start, beyond the brick terraces, is a large town at night with tall blocks with lighted windows, spires of churches and domed civic buildings. This scene will be partly obscured when a metal gantry is dropped from the stage roof that spans the width of the street. Beneath it is a cement wall with graffiti, the word “EVERTON” is in white paint, and a heart drawn between 2 sets of initials.
As the street becomes more dilapidated another set, a derelict house, is lowered from the stage roof to cover the gantry. Through its broken windows we can still see the spires of the distant town. When required a set showing the interior of the Lyon’s home is lowered in front of it.
THE LYONS’ HOUSE
The Lyons have an ornate bookcase with shelves of books and ornaments, to the right of it hangs a landscape, and in front of it is a square table with a vase of flowers on a white lace trimmed table cloth. 2 dining room chairs with slatted backs sit on either side of the table. On the floor is a blue Chinese rug. Behind the dining room is a hall with a tall arched casement window. Later we will see a cream coloured 3-seater settee where the family read. Further into the show the family move to a big house on a hillside in the country. It has an ornate garden wall of red brick and climbing ivy.
THE JOHNSTONE’S HOUSE
In the 2nd act the Johnstone’s also move to a new council estate in the country. The gantry rises to reveal a neat terrace of houses with views of green fields bordered by trees and shrubs. Their new home has a blue front door with a brass letterbox and a rectangular glass pane in the upper quarter, to the right of it is an entry. The kitchen, which slides on to the stage, has yellow and grey 1960’s style units, and a window above the sink overlooks the fields.
THE SCHOOL
The local secondary school has wooden desks and chairs where bored looking pupils sit. The wall behind the desks has dark square wooden panelling on the lower half, with beige painted walls above, and a large Victorian arched window with multi panes in a fancy design.
THE TOWN
A fun fair in town is represented by coloured bulbs draped across the stage. We see various signs bearing words such as: New Brighton Tower, Rifle Range, Licensed Bar and Restaurant, Espresso Coffee Bar, Fish and Chips, Walls, Wong’s Fish and Chips, Pepsi. The funfair rides are mimed by the cast. The town cinema is suggested by chairs occupied by the cast with the stage in darkness. When the economic climate deteriorates the town has signs on buildings offering reduced rent, for sale signs, factory closed, and space available for lease.
THE JAIL
Later in the 2nd act we will see a cell door with a small metal grid set in a concrete wall and a visitor’s area with a small square table with chairs on either side.
MICKEY’S HOME
A young married couple’s home is dropped down onto the left of the stage. It has radiators on the wall, above which is a small mirror and a notice board with photographs. The wallpaper is cream coloured and there is a window with a pelmet, lace drapes and curtains drawn back. There is a comfortable red armchair with armrests.
THE COUNCIL BUILDING IN TOWN
In the 2nd act we see the interior of a council building with a hallway of dark wood panelling beneath cream coloured walls. Centrally there is a large Victorian window in dark wood with small panes of glass. The hallway leads to the council chamber itself which is nearest us on the stage floor. There are two walls with an entrance between. On the right hand wall is a wooden board with inscribed names and on the left hand wall is a metal plaque. The chamber is also panelled in squares of dark wood and there are some grey, utility style stacking chairs without arm rests.
SUMMARY OF SET, PROPS, AND LIGHTING
Most of the action takes place between the rows of terrace houses. Backgrounds are lower from the stage roof drawing our attention to the changing scenes and interiors. At times the only thing illuminated by spot lighting is the narrator who is present throughout the show. The atmosphere is charged and highlighted by coloured filters on the lighting, sometimes it is red, and at other times it is muted to suggest night time. Scenes of heightened intense emotion are illustrated by long rays of lights, which are sometimes like cross beams.
The gantry, which is visible throughout most of the 1st act, is also a platform that allows the narrator and other cast members to observe and comment on the action taking place below on the stage floor.
Other props include stretchers, a pram, a cradle, a wickerwork nursery chair, a clothes horse, a stile attached to a wooden fence, a public phone box, children’s toys, suitcases, a cricket bat, guns - both toy and real, milk crates etc.
The set was originally designed by Ruth Neeman and the play is written with music and lyrics by the award winning Willy Russell.
The Creative Team
Directed by Bob Thomson and Bill Kenwright
Designer Andy Walmsley
Lighting Designer Nick Richings
Sound Designer Dan Samson
Musical Director Kelvin Towse
Associate Lighting Designer Darran Curtis
Assistant Director (Tour) Tim Churchill
Company Stage Manager Sarah Ripley
Deputy Stage Manager Christina Milroy
ASM/Book Cover Adam Tartaglia
Technical ASM Martin Meacham
Wardrobe Master David Hoy
Sound No1 Bo Collier
Sound No2 Jake Harris
LX No1 Tom Boucher
LX2/Technical Swing Ashley Swann
Production Carpenter Jay Walsh
Production Electrician Darran Curtis
Production Sound James Hartland
Design, Marketing, Media and PR Target Live
Welcome to this afternoon’s audio-described performance of Blood Brothers, at the Grand Opera House. The show is 2hours 45minutes long with one interval. The show will be described by Florence and Cara.
Written by Willy Russell, the legendary Blood Brothers tells the captivating and moving tale of twins who, separated at birth, grow up on opposite sides of the tracks, only to meet again with fateful consequences.
Characters and Costumes
It is worth noting that while we meet the main characters at different stages of their lives across 20 or so years, the part is played by one actor, ie, the twins at 7 are played by the same actors at 16 and so on. Also, the play has a large cast with an ensemble who play several different characters
There are several costume changes throughout the play and these can help locate a scene in time, for example, a teddy-boy outfit sets it in the sixties, a donkey jacket the eighties… Also, costumes are used to convey social status, Mrs Johnstone’s various house-coats, pinnies and aprons contrast with Mrs Lyon’s fitted and tailored suits. Mickey’s scruffy outfit of hand-me-downs contrasts with Eddie’s neat and tidy school uniform.
Mrs Johnstone is played by Lyn Paul, she is a tall woman with short grey hair which she wears swept over to the side and tucked behind her ears, she has a square face with prominent cheekbones and large deepset eyes, there are lines around her mouth and eyes.
When we see her first she is wearing a long grey overcoat and as the scene changes she removes her coat to reveal a flowing three-quarter length floral skirt, with a dark belt and pale blue short-sleeved blouse and black court shoes with a medium heel. When we see her next she is putting on a floral sleeveless house-coat which has deep pockets, tying it to the side. Throughout the play she will wear a number of different house-coats or aprons over her clothes. She also wears a long grey woollen coat. When she goes to work for Mrs Lyons she wears a pale blouse and her skirt is straight and grey, she wears a blue housecoat open over her outfit. Later, she comes to her doorstep wearing a pink apron over a blue shirt-dress with maroon velvet floral embroidered closed-toe slippers. At the start of Act 2 she wears a dark green cardigan with the sleeves rolled up to her elbows, a blouse and a belted skirt which is floral, loose and swings just below her knees. On occasion she wears a heavy grey overcoat, and other than at the wedding, when she wears a red suit, she wears an apron or housecoat over her clothes when we see her.
Mrs Lyons, played by Sarah Jane Buckley, is of medium build, she has an oval face with a full mouth and dimples. She has shiny, dark blonde shoulder length hair with a fringe. At times she wears it held of her face with a hair-band, at others in a French roll or bun. When we first meet her she wears a plain blue suit, a buttoned up jacket and a straight knee-length skirt, with black low-heeled court shoes. Later, she wears a light- coloured cardigan draped over her shoulders and a pink blouse. When we meet her next, she wears a cream pea-coat and white shoes. After this, she wears a floral dress with a swinging skirt, short sleeves and a belt at the waist. When Eddie is a boy going to school, she wears a pale blue blouse and a straight, navy, knee length skirt. When we meet her in Act2, she wears a dark red shirt with a grey straight skirt to just below her knee. Later she wears a brown coloured suit, then a tan trench coat over a brown dress.
Mickey's clothes always seem to swamp him. When we first meet Mickey, played by Sean Jones, he is wearing scruffy knee-length shorts, a large green pullover tank-top which is too big and has holes, over a brown short-sleeved t-shirt. He has baggy grey socks and brown canvas trainers. He is also covered in mud. At the beginning of Act 2 he wears a loose-fitting black blazer, a white shirt, black tie, blue jeans and white trainers. Later, he wears a denim shirt and a denim jacket, then a green parka, then a donkey jacket. Later again he wears a brown cardigan and brown shoes, then navy overalls. The actor playing Mickey is well-built with an oval face and dark spiked hair.
In contrast to Mickey, when we first meet Eddie, played by Mark Hutchinson, his hair is slicked down and he is wearing a well-fitting grey school uniform comprising shirt, tie, pullover, knee-length shorts, grey socks with a red trim pulled up to the knees and polished black, leather lace-up shoes. As an older boy he wears a double-breasted blazer with a shirt and tie, and grey trousers. Later he wears cricket whites with pads, then brown trousers with a pale jacket and shirt with a striped tie. When Mickey wears a green parka, Eddie wears a black overcoat. After this he wears a brown duffle coat and a woollen college scarf, and then a tan trench-coat and suit. Eddie is slightly heavier set than Mickey, with a squarer jaw and straighter hair.
When we first meet Linda, played by Danielle Corlass, she has her blond hair held up in two pigtails with red ribbons and wears a red cardigan over a short yellow dress. As a teenage schoolgirl she wears her hair in a high ponytail, a tight-fitting buttoned school blazer over a shirt and tie with a very short, very tight grey skirt and a small shoulder bag. Later she wears a denim mini-skirt and denim jacket with high wedge strappy sandals. At 18 she wears a pink knee-length dress with a white cardigan and her hair hangs straight. We see her then in a white wedding dress with a net veil. Later her hair is in a low straggly pony tail and she wears blue jeans, a checked shirt, navy cardigan and a dark coat. Linda is petite, with large eyes and a narrow mouth.
When we first meet Mr Lyons, played by Tim Churchill, he is wearing a waist-coat buttoned up and has his shirtsleeves rolled up. Later he wears a maroon cardigan and then a dark overcoat. He also wears a brown sheepskin coat.
Donna-Marie, played by Amy-Jane Ollies, wears a green jumper and red tartan short skirt, green socks, white plimsolls and her hair in two plaits. Later we see her in a pale pink maternity smock with a white collar and her hair in a ponytail.
As a young boy Sammy, played by Daniel Taylor, wears navy shorts and a blue t-shirt with baggy socks and converse trainers, like Mickey, he is covered in mud. Teenage Sammy wears a black leather biker jacket zipped up and collar upturned. His blue jeans are rolled up at the ankle over black DM boots. Later he wears a trench-coat.
The Narrator, played by Matthew Craig, is a significant role, he is tall and broad shouldered, with a chiselled jawline and slicked back hair. He wears a black suit with a white shirt and narrow black tie.
A number of parts are played by Josh Capper, Tim Churchill, Danielle Corlass, Alison Crawford, Graeme Kinniburgh, Graham Martin, Amy-Jane Ollies, Andy Owens and Daniel Taylor. They wear a variety of costumes for different characters –
For Mrs Johnstone’s husband the actor wears a bright blue teddy-boy jacket, a red shirt, black tight trousers, red socks and brothel creeper shoes.
At the wedding do, the men wear dark suits, and the women wear full swinging netted skirts or straight dresses.
The milkman wears a white cap, a white coat, red apron.
Mrs Johnstone’s neighbours wear house-coats and scarves over their hair.
The gynaecologist wears a white coat and a stethoscope.
The nurses wear blue nurses’ pinafores with white aprons, white caps and dark tights.
The debt collectors wear coats and Trilby hats.
The group of children wear shorts and t-shirts, canvas trainers or plimsolls, one wears a cowboy hat and waistcoat, another a black open-faced balaclava, another has a pot tied to his head.
The policeman wears a policeman’s uniform and helmet.
The judge wears a grey curly wig and red robes.
The bus driver and conductor wear green caps and green jackets.
Eddie’s schoolmaster wears a brown suit and black academic cloak, he wears glasses and has slicked back hair, the same actor becomes Mickey’s schoolteacher by removing his glasses, cloak and suit jacket, he opens his collar and pulls his tie askew, he rolls up his shirt sleeves and runs his fingers through his hair.
At the funfair, the ensemble wear coats and hats.
Miss Jones wears her hair tied up in a bun, she wears glasses and a smart dark suit with a white blouse. The men from the factory wear heavy dark coats.
SCENERY NOTES FOR BLOOD BROTHERS
The stage is dark when we first enter the theatre. Gradually it lightens. A gauzy curtain lifts to reveal a wide street of red brick terraces with lighted windows on either side of the stage, with a pavement between. Most of the action will take place centrally between the two rows of houses that are in poor repair, cramped, and open to the pavement. 2 steps lead to the front doors, which are green and have a wooden panel with a brass letter box in the lower half, and a glass panel on top. Each has a fanlight bearing the house numbers. Some of the doors have patterned glass, and one house has a balcony above a porch. The Johnstone’s house is the gable end, nearest us on the left of the stage. It has 3 glass panels in the upper bedroom, two smaller panes above a larger cracked one. At times washing is hung on a line from one side of the street to the other.
The red brick houses opposite the Johnstone’s on the right of the stage are similar, but the middle house represents the Lions home, which is in a better part of town. Their house has an ornate brick porch, above which is a wrought iron balcony leading to a bedroom with multi-paned windows. Their house porch will later double as an entry where kids play, and is used as an exit to the stage right. The proximity of their house in the middle of the row allows us follow the action in both the Johnstone and Lyons households.
The back ground will change as the show progresses. At the start, beyond the brick terraces, is a large town at night with tall blocks with lighted windows, spires of churches and domed civic buildings. This scene will be partly obscured when a metal gantry is dropped from the stage roof that spans the width of the street. Beneath it is a cement wall with graffiti, the word “EVERTON” is in white paint, and a heart drawn between 2 sets of initials.
As the street becomes more dilapidated another set, a derelict house, is lowered from the stage roof to cover the gantry. Through its broken windows we can still see the spires of the distant town. When required a set showing the interior of the Lyon’s home is lowered in front of it.
THE LYONS’ HOUSE
The Lyons have an ornate bookcase with shelves of books and ornaments, to the right of it hangs a landscape, and in front of it is a square table with a vase of flowers on a white lace trimmed table cloth. 2 dining room chairs with slatted backs sit on either side of the table. On the floor is a blue Chinese rug. Behind the dining room is a hall with a tall arched casement window. Later we will see a cream coloured 3-seater settee where the family read. Further into the show the family move to a big house on a hillside in the country. It has an ornate garden wall of red brick and climbing ivy.
THE JOHNSTONE’S HOUSE
In the 2nd act the Johnstone’s also move to a new council estate in the country. The gantry rises to reveal a neat terrace of houses with views of green fields bordered by trees and shrubs. Their new home has a blue front door with a brass letterbox and a rectangular glass pane in the upper quarter, to the right of it is an entry. The kitchen, which slides on to the stage, has yellow and grey 1960’s style units, and a window above the sink overlooks the fields.
THE SCHOOL
The local secondary school has wooden desks and chairs where bored looking pupils sit. The wall behind the desks has dark square wooden panelling on the lower half, with beige painted walls above, and a large Victorian arched window with multi panes in a fancy design.
THE TOWN
A fun fair in town is represented by coloured bulbs draped across the stage. We see various signs bearing words such as: New Brighton Tower, Rifle Range, Licensed Bar and Restaurant, Espresso Coffee Bar, Fish and Chips, Walls, Wong’s Fish and Chips, Pepsi. The funfair rides are mimed by the cast. The town cinema is suggested by chairs occupied by the cast with the stage in darkness. When the economic climate deteriorates the town has signs on buildings offering reduced rent, for sale signs, factory closed, and space available for lease.
THE JAIL
Later in the 2nd act we will see a cell door with a small metal grid set in a concrete wall and a visitor’s area with a small square table with chairs on either side.
MICKEY’S HOME
A young married couple’s home is dropped down onto the left of the stage. It has radiators on the wall, above which is a small mirror and a notice board with photographs. The wallpaper is cream coloured and there is a window with a pelmet, lace drapes and curtains drawn back. There is a comfortable red armchair with armrests.
THE COUNCIL BUILDING IN TOWN
In the 2nd act we see the interior of a council building with a hallway of dark wood panelling beneath cream coloured walls. Centrally there is a large Victorian window in dark wood with small panes of glass. The hallway leads to the council chamber itself which is nearest us on the stage floor. There are two walls with an entrance between. On the right hand wall is a wooden board with inscribed names and on the left hand wall is a metal plaque. The chamber is also panelled in squares of dark wood and there are some grey, utility style stacking chairs without arm rests.
SUMMARY OF SET, PROPS, AND LIGHTING
Most of the action takes place between the rows of terrace houses. Backgrounds are lower from the stage roof drawing our attention to the changing scenes and interiors. At times the only thing illuminated by spot lighting is the narrator who is present throughout the show. The atmosphere is charged and highlighted by coloured filters on the lighting, sometimes it is red, and at other times it is muted to suggest night time. Scenes of heightened intense emotion are illustrated by long rays of lights, which are sometimes like cross beams.
The gantry, which is visible throughout most of the 1st act, is also a platform that allows the narrator and other cast members to observe and comment on the action taking place below on the stage floor.
Other props include stretchers, a pram, a cradle, a wickerwork nursery chair, a clothes horse, a stile attached to a wooden fence, a public phone box, children’s toys, suitcases, a cricket bat, guns - both toy and real, milk crates etc.
The set was originally designed by Ruth Neeman and the play is written with music and lyrics by the award winning Willy Russell.
The Creative Team
Directed by Bob Thomson and Bill Kenwright
Designer Andy Walmsley
Lighting Designer Nick Richings
Sound Designer Dan Samson
Musical Director Kelvin Towse
Associate Lighting Designer Darran Curtis
Assistant Director (Tour) Tim Churchill
Company Stage Manager Sarah Ripley
Deputy Stage Manager Christina Milroy
ASM/Book Cover Adam Tartaglia
Technical ASM Martin Meacham
Wardrobe Master David Hoy
Sound No1 Bo Collier
Sound No2 Jake Harris
LX No1 Tom Boucher
LX2/Technical Swing Ashley Swann
Production Carpenter Jay Walsh
Production Electrician Darran Curtis
Production Sound James Hartland
Design, Marketing, Media and PR Target Live
