Design Notes:
This was one of my favorite moments in the play, it was as if the stage action and the music were one and moved together. It took awhile to get the timing of the music along with the cue placement right, but in the end it was well worth the effort. I attended numerous rehearsals with a stopwatch to get the general timing for this cue correct.
Script Indication (cue go is on the first bold line, cue fade out is on the second bold line):
JEEP: (conversationally) [music swells]--"Mannahatta," it was called then. Indian. They had big, open tents on the Bowery with sawdust on the floor. German beer. Juggling acts. Dancing bears. The Civil War was just beginning.
LUPE: When was this?
JEEP: He'd tip his hat to Abe, and Abe would tip his hat back.
LIZA: They liked each other.
JEEP: (in a Walter Cronkite newscaster voice) The poet and the President. The poet all gray and white standing on his feet. The President all dark and somber, glooming down from his horse. The face of war in his eyes. The two of them seeing each other from their respective positions. The entire nation in a jackknife. This all happened on Vermont Avenue near L Street. The street itself was raining. Blue soldiers were lying wounded in every doorway; some having slept there all night with gaping wounds. Soaked to the bone. Walt to the bone [quick one sec. fade out].
Design Notes:
This is an example of a “major monologue” underscoring moment. Its purpose is to support Shooter’s onstage action. Shooter is talking to himself, moving around the stage gesturing with his arms. He is giving a profound speech that gives insight into his personality. The underscoring reinforces the mood at this point, which is a bit haunted or disturbed, since the other characters onstage are pretty much ignoring him. The underscoring provides ambience, so that the audience feels the emotional weight of the moment for Shooter.
Additionally, the long fade out serves two purposes. First, it allows the moment to gracefully conclude and secondly it covers Jeep's entrance with the water.
Script Indication (cue go is on the bold word, cue fade out is on the second bold word):
My Approach:
My Approach:
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Script Indication (cue go is on the first bold line, cue fade out is on the second bold line):
SHOOTER: It's agonizing. All this time I could've swore I was getting something done. I can't even remember eating. (back to JEEP) Did we eat already? Wasn't there a turkey? (turns front again and leans back) Somebody's gonna' have to bring me some food, you know. I've made this decision not to leave the chair and I'm gonna' stick with it. Come hell or high water. It's not my fault. (back to JEEP) I could have the fish. When you're finished with it, could you fry it up and bring it to me? If it's not too much trouble? (no response from JEEP. SHOOTER turns front agin and leans back in the chair) This isn't the worst. It's just that my stomach is growling. I COULDN'T STAY HERE FOREVER! I don't know what possessed me. (back to JEEP) Didn't I say that I'll never leave the chair? (back front again) If I get up, it would be a sign of my weakness. Jeep? If I got up would you think I was Weak? (no answer) This isn't the worst thing that could happen. (short pause)
Script Indication (cue go is on the first bold line, cue fade out is on the second bold line):
SHOOTER: (quietly to himself; LUPE and LIZA eat quietly) Just because were surrounded by four walls and a roof doesn't mean anything. It's still dangerous. The chances of something happening are just as great. Anything could happen. Any move is possible. I've seen it. You go outside. The world's quiet. White. Everything [volume swells with next word] resounding. [volume resumes previous level]--Not a sound of a motor. Not a light. You see into the house. You see the candles. You watch the people. You can see what it's like inside. The candles draw you. You get a cold feeling being outside. Separated. You have an idea that being inside it's cozier. Friendlier. Warmth. People. Conversation. Everyone using a language. Then you go inside. It's a shock. It's not what you expected. You lose what you had outside. You forget that there even is an outside. The inside is ll you know. You hunt for a way of being with everyone. A way of finding how to behave [begin long 25 sec. fade out]. You find out what's expected of you. You act yourself out.
(JEEP enters from upstage with a bucketful of water and four cups in the other hand. Each cup dangling from one of his fingers by the handle. He dips it into the bucket. He does the same with each cup and serves everyone at the table with a cup of water. Then he sits down on the floor....)
Script Indication (cue go is on the bold word):
My Approach: