Thursday, January 05, 2006

Acting and Stage Directions are HERE

M'dear cast! Here you shall find all acting and stage directions that your directress has written (in her own prompt book) thus far. Note, m'League, that very little will be changed from these directions.
For the full, please log on to the comments as these will also include additional directions!
Have at it! Into the fire!

Stage and Acting notes should be penciled in if aplicable to you. Please be sure to do this, because we will soon be "off book", and will be expected from you.
Keep memorizing, get ready for some good fun and plain hard work when we return-

Act 1: Scenes 1-4 (1:1-4)
Margot- "Storybook" is free for you. You are larger than life, at this point, with no fear-the proud actress. You must interact with the audience at this part, and be larger than life. It's only then that they will get to know you as the happy bride-to-be, the audience needs to fall in love with your character, or they'll not understand or sympathize with her later- maybe even see her as a whining ninny...

Chauvelin- you need to be colder, with a smirk on your face, not so much a sarcastic sneer...the more impersonal you are, the more the audience will be turned off by you. You are only show a bit of humanity when you question the love of Margot...something needs to be hinted at.
Percy- you are high on life and in love. You are manly, strong willed--but, as is hinted later, a bit self-centred and with an aristocratic air of free-spirited. At this point, you're just proud of your accomplished, beautiful fiancee.
Marie- You are independant and strongwilled, also a bit imprudent and tempetuous.
Tussaud- You complement Marie by being almost overly cautious- a bit squeemish.
Mercier/Coupeau- stiff soldiers.
Stage Directions- We need an antique gun that can fire a cap- hand gun. Get in touch with me if you have one (for Chauvelin)!
One-liners and conversation needs to be quick (but with diction). Know your lines!
Mercier- your line on pg. 5 is cut
Chauvelin- you enter, right after Margot- after Tussaud's line pg. 5.
Percy- pg. 9, you kiss Margot's hand before saying "any questions?"
Dewhurst- you are Percy's best friend, in the books. You, therefore, have best knowledge of him. Try to personalize the situation, and your news as if it were real. (pgs 10-12)
Percy- you need to be firm, not angry...but defensive...when you see the note, you have disbelief and a bit shaky. As for directions concerning "The Prayer", if you want them earlier, e-mail me, otherwise, bring a pencil at our next meeting.

More to come!


SirPercivalBlakeney said...

To continue:
Guys, I need you all to act natural. When you enter Percy's study, laugh, talk, etc. Also, your lines need to be quick and witty- if you wait for eachother too long, we loose the atmosphere!
Percy, you need to be completly a MAN in this- the strongest of them. You need to assert your leadership here-also, when you are discribing fopishness- accentuate this by overly-foppish tones and getures, only then- let the audience know the difference between the real Percy and the fop.
"Into the fire" is a manly battle song. It's your time to shine, guys, and show the audience that you're the pivot of chivalrous heros!
Stage Directions:
We will choriograph the mock fight and "the rescue ballet" as soon as the first practise. Be prepaired with some ideas, gents
Chauvelin- for "Falcon in the Dive", I'd like a close interpretation to the CD. Instead of yelling, I want you to sing-talk in cold, controled demands- almost monotone,(except for the "damn" which you'll need to shout). You need to treat the two soldiers as if they are complete idiots, or need extream diction to get the point. You only begin to sing at "how the devil.."(pg.27), also, accentuate by yelling the two lines starting with "yes the weak...will survive" (pg.28)
Mercier- you are going to bumble out of the scene on stage left
Coupeau- you are going to salute, then run off to the stage right.
Grappin/Percy- you will turn to leave when Chauvelin says "circle of men", but freeze until he's finished-as if shocked by Margot's name mentioned (pg.28)
Chauvelin- you'll end with hand outstreached on "the dive!"

SirPercivalBlakeney said...

Chauvelin- you will also cut the "go" within the song, on pg. 28.

"Who is the Scarlet Pimpernel" as practised.
Resume script, pg 31.
Marie- you will add, "ladies and gentlemen..."giving cue for the cast to exit stage right.
Percy- when in "fop-mode" as you are here, you must speak fast (you will need extra diction so we can get what you are saying), almost like rambling. See the 1930's black and white movie for a good character study to do this.
Jessup- your line is cut, and you will have left, shuffling out the cast.
Margot- you will cut the line up to "Oh", then add, "Armand" to the sentance, so that it makes sense.
Percy- you will cut Margot off, like what she is saying doesn't matter...your character can't bear to see her express her sadness, so he takes the focus off her with the sentance.
Armand- trying your best to salvage an atmosphere of civility with his light conversation
Percy- you distroy it by rambling on until "eh what, m'dear" when you turn directly to Margot, with a serious, sharp questioning look- tensions are high
Margot- you look right back at him creating higher tention.
Percy- You, in turn, fein foppish surprise, gasp, then say your lines quickly...posing as "well," you draw back and seemingly excuse your outword burst of enthusiasm. After that, you'll mime chatting with Marie, only. You need to make it clear that, when chatting and smiling, you are absolutly fixated on Margot the entire time her back is turned to you, when she is speaking with Armand- that way, you can save him from speaking about "the Pimpernel" by bursting in.
Maid- you will enter, stage right, right as Percy says, "The Pimpernel?!" so that you can say both lines- (pg.32, girl 1&2)
Marguerite- we'll go over the details for "when I look at You". I'm going to have you play with a hanky or something, which needs to be noticebly dropped when you are leaving- not to you (you aren't supposed to notice), but to the audience and to Percy.
You will leave, stage left, pg.34, after Percy's line "meetin' a princess in the garden.."
Percy- you'll call out after her, the rest of the sentance "always hopin'..." You will also notice that she's dropped her hanky, you need to look at it, so that the audience will see as well. With a pause (so that the audience sees a change of face for you)- you need to stop being foppish there, and show a deep-set hurt and whistful glance where she left, walk over and pick up her hanky, before continuing your lines.
Armand- you're shocked at Percy's candid revealing of his identity, and this needs to show, so that Percy can laughingly fill you in that Marie knows.
Percy- the last paragraph on pg. 35 is crucial- we get a glimps of the inner turmoil of your character. Therefore, it needs to run a bit slower, very sadly- especially at "Zounds..." with a deliberate pause before "off with you". You may even emphisize it with looking out over the audience, as if thinking of a vision in your mindseye.
Armand- you leave stage right.
Percy- When Armand leaves, you need to look down at the hanky you still have in your hand- touch it to your face, kiss it or something-we'll see.
All the while, you'll be looking whistfully directly out to the audience, and sing the reprise as on the CD- cut all the extras and mark when it is only instrumental. This is VERY emotional, so it needs to be done especially with emotion in the voice.
(Marguerite- you will not sing any of the reprise)

SirPercivalBlakeney said...


Maruerite- as you are not expecting Chauvelin, you enter stage left, start at seeing him, then outburst with anger (but in hushed tones, and looking around to see if anyone else is close by).
Chauvelin- you are as cold as ever, a bit triumphant- not a lot of emotion in your face except for a brief, cold smirk. You bow as taught, at "milady".
Margot- you are bitter.
Both of you are needing quick and sharp conversation on pg.37. You will turn your back to him after he says "The Revolution seems to-"
At "please go", you will need to begin to walk away (stage right)from from him in defiance.
Chauvelin- you will step in front of her, to block her way at "Yet..." and do not finish the sentance until directly in front of her- you will need to be very close to her, so that the audience feels her own sense of being trapped in. This needs to continue, if she steps away, you need to step close again.
Margot- your "what?!" and the proceeding line, you need to laugh nervously, and turn away from him towards the audience while listening to him, step away-but he will follow. You need to make the audience feel as uncomfortable as you do.
On pg.38, you need to be caustic with your sarcasm-but seem sad when you say the line starting with "Believe me.."
Percy-like at the Prince's in scene 12, you need to be surprised and genuinely concerned when you see Margot with Chauvelin- just personalize it: Percy already knows the character of Chauvelin, and that Margot has, he believes, betrayed his friends to a French spy. He also is astutely aware of the tension between Margot and Chauvelin, and Margot's unhappiness in her present situation. This is hurtful to Percy as it is maddening. You need to express this in gesture, facial expressions and tone- first walking into the garden not seeing Chauvelin (perhaps toying with your cravat), look up mid-sentence, surprised, and then say with honest questioning-looking at Margot: "but lovely to see that others join us"
Marguerite- you need to react to this honesty, also because you too recognise the situation as suspicious-but, instead of seeking help, you need to act as if you don't need him-proper and composed in the introduction.
Percy-react by eyeing her briefly, but foppishly turn towards Chauvelin and ramble on. The next conversation is comic relief- this needs to be fast-you reacting to Chauvelin and Chauvelin reacting to you.
Chauvelin- you are disgusted with Percy, but as the cold man you are, simply smile a smirk-what will be funny is a reaction, first, of genuine guidence in the pronunciation of your name...then agitation when the idiot just won't get it.
Percy- you're doing circles around Chauvelin, intellectually. The audience knows your the guy he's looking this up, especially when he turns around on can be smirking at him...but remember NEVER LOOSE YOUR MASCULINITY! On pg.39, when you're speaking of Chauvelin's black outfit...ramble on as if completely absorbed in it (with the monicle)until you look at him, squarely, "But you were saying?"
Percy & Chauvelin- pg. 40 is very quick and reactionary...Chauvelin, you cannot laugh at Percy, and Percy...don't go overboard..=-)
Chauvelin- your paragraph, pg. 40- starting with "Tell me Marguerite..." is cut.
Marguerite- you slink away from Chauvelin throughout "Where's the girl". You will not give into his advances...except to show in your face your loneliness, and the struggle against temptation.
Chauvelin- you are cold..this is just another attempt at power control...but you must only show this to the audience, not Margot. At the last, "where's the girl", you need to draw close to her with your hands on her shoulders- her back will be facing you...turn her around towards you..
Margot- you will allow yourself to be turned around, but after the music is over, and he is drawing you will cry "NO!" and slap him...yeah...girl-power...hahaha
Chauvelin- you'll need to point threateningly at her, then, as she is sobbing, turn so that the audience sees you smirk, and exit stage right.
Armand- you'll see Margot sobbing, and are concerned
Marguerite- you need to compose yourself and force yourself to smile and act as if nothing is wrong- that you're carefree and fine...that's why you'll cut off Armand as if in mid-sentence.
Marguerite- you'll let yourself go when you hear Armand is leaving for France...burst into sobs
Marie- you'll quickly exit stage Left
Marguerite-you'll laugh after "we all will"'ll pause, then laugh with him.
"You are my home", pg. 43 is cut.

SirPercivalBlakeney said...

Percy-pg. 45,your sentence "Indeed!.." is the cue for you to walk from the "study" scene, with the group behind are talking all the while, reacting to what they're saying.
League- you're not even noticing that you are walking from the study.
Cut "The Creation of Man" as it is, taking only the speaking parts in between.
Dewhurst- your line on pg.46 is the cue for all to be on the set of the Prince's palace (it'll be "limbo" until then)

All else is cut until pg. 48

Offstage, Jessup will announce for "Sentry"
Prince enters from stage right- the men are already there.
The proceeding conversation is fast and foppish!
Prince- pg. 50 line "very well, then.." is cut
Percy-your line, "first things first" is cue for "Creation of Man"
you'll end the scene with your last line on pg. 50
"The Riddle" as practised.

SirPercivalBlakeney said...

pg.56 is cut in complete.
Scene opens with all ball-guests talking excitedly....the music will play the first bars to "Who is the Scarlet Pimpernel"- all will sing at "Who is the Scarlet Pimpernel" facing towards the audience, then go back to speaking to each other.
Prince- Laugh loudly, slap Percy on the back and begin your line on pg. 57-"Sir Percy, I'm afraid that's one question.."
Percy- after your line- you clear your throat, turn your back to the audience, as in the 1980 movie, then turn back and sing "They Seek" as is done on the CD- including "More to come, more to come..."

All extra verses-pgs. 57-58 are cut.
Percy- pg. 59, you need to try to reach out to Margot, first line needs to be true self-no foppishness.
Marguerite- you are distracted with Chauvelin's threats to realize that Percy is reaching out to you.
Percy- her indecision hurts you, and you quickly close up, again-you are cold, especially when indicating towards Chauvelin at "with your other...friends" and your response to her "And what have I done that you should turn..." is quick, biting but filled with honest emotion.
League members- those who associate with Margot in the dance must seem confused, but try to "save face" and act as foppish as possible.

Pg. 63- This scene needs to reflect the 1980 movie.
Percy- Enter, stage left. You speak in hushed tones, do not alter your voice, etc.
Marguerite- you do not try to turn around, but are frozen...looking out past the stage-right audience.
We'll cut the line, "Clearly, I'm beyond..."pg.65
Percy- your line "You're wrong, you know..." must be filled with emotion.
Marguerite- you'll pause when he says this, then leave, stage right.
Percy- "She was there" needs to be an overflowing of emotion and joy. This will be choreographed when we return.
Chauvelin- your surprised, not so much by the fact that you see Percy, but that you are startled- he runs into you as you run into him.
Percy- you keep your cool, become the fop and play with his head- this should be fast paced.
Chauvelin-finally, we see you loose your cool with Percy (pg.67 and again on pg. 68).
Percy- you are excited and re-energized. You have come to know the truth about Margot, and this is freeing for you- she was betrayed by your common enemy. pg. 68 ought to be filled with these emotions.

F117ANighthawk said...

Is it possible for you to please put the info about the Lifehouse concert as an official post? The info is a comment in the "On the Sellin' of Ads" post. I know this doesn't have a lot to do with the Scarlet Pimpernel, but it's awfully important! Thank you!

SirPercivalBlakeney said...

This scene will be completely re-done. Not only would Margot NOT have lowered herself to become a whore, but it's a little too simplistic.
I'd rather mime it...
Thus, this scene will open inside a tavern (as is set) but everyone is just drinking and talking amongst themselves. We see a cloaked figure at a side table (stage right), speaking lowly to Coupeu. The figure keeps gestering with a bag of (gold, we assume?) in his/her hands. Coupeu finally shakes his head in agreement, takes the money-looks around- and then gives the cloaked figure a key. He exits stage left.
We see the cloaked figure lean back and sip some wine.
Here we pick up at pg. 70- instead of "tarts" we'll have one person begin to sing it (one line, gestering to everyone to pick up the tune), and then everyone gets roudy and sings it, raising wine glasses and steins...
Chauvelin & Coupeu- enter stage left
Coupeu- point out the cloaked figure as directed on pg. 70
Chauvelin- you'll order both Mercier and Coupeu to arrest the figure, then, pull back the hood so that the entire audience may see it's Margot.
Marguerite- everyone is looking at you, and it is dead quiet. You need to shakenly continue the song..then grow stronger and louder...all will join you.

This will be continued...we'll go to Chauvelin's office instead
-We'll need a French flag
Chuvelin- you need to copy the triuphant, cold and calculating attitude that your character has in the 1980 movie, in the similar atmosphere. Sit at the desk, and barely pay attention to Margot's have paperwork, etc.
You'll only rise from this position on pg. 72 when you ask Margot "Do you want your brother..."

the following diologue needs to be fast paced and panicked.

Chauvelin- pg. 75- you loose your cool...we need to see your stoney countinance break...we need to see anger and emotion...passion during the Reprise. At "Let her go!" you'll jump up from your chair and push it over.

Percy- you are more quiet and subdued- we need to see that your hope is fading, and that you are very fatigued.
League- you aren't helping with your worrying questions.
Percy- when you address Marie, you are trying to change the subject to a project, not the sufferings of your wife or the situation.
When you address Ben, you get are overtired, and are also very worried. Your nerves are you are really on edge now.
League- you are panicking- your diologue here is fast.
Percy- you shout, "No, this is madness!" pause, regain your composure, and allow yourself time to resite the rest of the lines- as if almost despairing..your last "I will-" must be cut short by a sob/or break your voice- extream emotion, you must look out into the audience as in a daze, sink into a chair/bench that'll be there for you, and put your head in your hands- we'll work this.
Ozzy- give him a moment or two before you place your hand on his shoulder and say your line.
League- you'll not be accompanied at first, but the piano will take up the tune...just be prepaired, we'll work this too.

SirPercivalBlakeney said...


All extra cast members will be in this madam guillitine costumes...

Julianna and Annie will be singing the duet- Annie, you'll be the mother, Julianna is the child.

The duet will be sung beginning after Margot's line, "No, don't make me think..."pg.80.

Maruerite- you'll turn at your line, to see the two, and hear the prayer of the mother/child. You'll wipe away a tear before all is blackened around you and you begin "I'll forget you". Be prepaired for the's really intense, I know.

All will be done according to the script. We'll work out the exact cast placing, and who will stay/ who will go at practise.

This scene, for obvious reasons (Greg is in the scene before!) is changed.
Chauvelin- you'll be saying Robespierre's lines.
Coupeu- you have Chauvelin's lines starting with "They near the cart", then "Our men are in place", then " Thrust into the boy's hand..."
Mercier- you have Chauvelin's lines starting with "In position..(adding)A note from Robbespiere, Citizen.", then "They're in the carriage..."
bottem of pg. 83, last two lines of Robbespierre are cut.
Chauvelin- Robbespierre's lines "You realize, Chauvelin..." are read aloud from the note he has sent you- you'll be interupted by Coupeu's line. When you say, "then give the signal", you'll crumple the note up in your hand, excitedly. You'll laughingly recite your own lines "It seems, Robbespierre.." as a short monologue. "Just so" is another line you have, and will continue the lines starting with "Yes, let the St. Justs escape" with your own paragraph as a monologue to the audience. At "Robespierre, I vow to you..." you raise the note in a clinched fist and address the audience.
Exit stage Right.

Armand- you're excited and overtired. You need to bumble about when you are trying (poorly) to cover for your mistakes about saying Percy's name in place of the SP.
pg. 86- starting with Marguerite's line "Yes, for it would..." needs to pick up the diologue pace until a frantic climax at pg.87.

We'll need to choreograph this, guys, before I can give directions! sorry! Just say, for now...Margot will NOT be fighting in the duel (that's just silly),
pg. 95- Percy, your line :"No, no Shovelynn, like this-" needs to still have the foppishness, but when you say "Sieze him." You are Sir Percival Blakeney- the man. From this point on, you are completely the hero, no more foppishness!
This should be easy enough...
pg. 99- the reprise, after cast call, will be sung as is on the CD!
Percy will sing alone: "Never hold back..." to "courage will grow!"
and...deep breath, Percy:
INTO FIRE!!!!!!!!!!!!- long hold when the rest of the cast will sing "Onward ho!"


SirPercivalBlakeney said...

Oooops- one more note for Percy:
pg. 57, you have to say why you're reciting "They Seek"...
so, I want you to say, after "Methinks he seeks the Pimpernel" is:
"Zounds, that reminds me! I've written a poem in honour of Mon-suior Shovelynn's quest- (look at Chauvelin) you see, I'm a bit of a poet, and you did not know it, what! (Ha ha ha)(To Mel)Would you be so kind? Ahem, I call it "The Scarlet Pimpernel"- oh yeh oh yes!..."
Then begin the song

F117ANighthawk said...

Sir Percy - did you see my comment about the Lifehouse concert. If not, it is further up on this post. Thanks!