Well, here it is! The last in the quadriology--the world of LnC juxtaposed with the world of a small community theatre--albeit a wonderfully talented one.
Again, so many people to thank. But I'll spend time here just thanking two -- Saskia and Laswa. Thank you ladies!!!! You've been more than just a suporting cast -- you've had major roles in this production. I owe you so much!
At the end of this part are listed the credits for SP4 and a list of terms that might be helpful.
I hope that I've made the world of theatre one that you want to visit again and often. Films, DVDs, and TV are an integral part of all of our lives--but live theatre brings you something more. It gives us all a chance to share the event--to participate--rather than just watch the world go by. Our two favorite characters were always more than observers, and I hope that all of us follow their lead.
Thank you everyone.
Part 10
“Wow!” the little boy said, getting up to zoom around the couch. “I wish I could fly like...like...”
His father came into the room and lifted the little boy up over his head and ‘flew’ him through the air. “Time’s running out. We have to go,” he told the bundle of energy in his arms.
“No, Daddy!” his son said with his mother’s determined look on his face. “I want to hear the end of the story.”
“Not much longer, honey,” she told her husband.
##########
Smallville, Kansas
Friday,
April 1, 1994
The Smallville Players were sprawled around in various auditorium seats as Clark arrived, entering down the aisle, adjusting his tie.
“You missed it all, Mr. Kent,” Keith told him.
“Yes,” Lois echoed, her arm around Claire in the seat next to her.
“I’m sure I’ll hear all about it later,” he said sitting down on the other side of Lois and leaning down to kiss her quickly.
“Hear about what?” Donald asked.
“Are you okay, Rod?” Lois asked, not bothering to respond to Donald.
“Yes,” he said. “After Rachel Harris took everyone away, Superman told me that he didn’t think my Dad would be held responsible. And maybe now, he will learn to face the inevitable.”
“Well, we may never know what destiny holds in store for us,” Anne said as she held Rod’s hand. “We just have to make the present count for us and let the future take its course.”
“That’s right,” Claire said smiling at Uncle Herbie.
“But it’s going to be a considerably illustrious one--a future filled with possibilities and wonder,” Wells said, looking at them all. “Of that I’m *now* unequivocally certain.”
“Well, speaking of the future,” Martha said, “Now that Dr. Post has gone elsewhere and is no longer with us, I guess the show doesn’t go on.”
“No Dr. Post? No show?” Donald asked, completely at a loss.
“I’ve never had to cancel a play, before,” Martha said looking around at the Smallville Players, sadly. “But I’m positive that we can’t get another Roat. And, with all that’s happened today, I’m not sure I want to do this play, anyway.”
“What’s happened?” Donald said, interrupting.
“Hush!”, Linda told her husband, jabbing him in the arm.
“Mom. It’s okay,” Clark told his mother. “We’ll just take a much needed breather and prepare for the summer play.”
“Clark’s right,” Lois told the cast and crew. “And Martha, please pick a play with no murders, no mayhem, no malevolent evil scientist.”
“Right,” Donald Batt echoed. “We should do a play that lifts everyone’s spirits, that teaches us all about man’s humanity to man, that provides us with a pulpit to preach goodness and nobility.”
The entire cast and crew turned to look at Donald. No one spoke for a few moments.
“I know one,” Claire said softly.
* * *
Utopia
January,
2121
“Happy New Year!” Wil Kent said, toasting the others in the troupe. He looked around at the theatre, lit only with the ancient ghost light--but in tact--the theatre in tact. Although a theatre was so much more than brick and mortar, having that tangible stage--the curtains, the boards, the lights--gave a definition to what was their theatre, their life, their perfect world.
“Happy New Year,” the others echoed.
“Life is as it should be,” Wil continued. “Thanks to Claire and also to Mr. Wells, we have defeated the Enchanter.”
The 22nd century Smallville Players lifted their glasses.
Hear us, heathens and wizards and serpents of sin!
All your dastardly doings are past;
For a holy endeavor is now to begin,
And virtue shall triumph at last!Wil Kent smiled at the group. “And soon, our heroes will be here to celebrate with us.”
The friends clustered around Wil held up their glasses once more.
At just that moment, the whirring sound, accompanied by gusts of steam, heralded the arrival of H.G. Wells. “I need your help,” he told all of them as he alighted from the contraption alone. “You have a command encore performance to give.”
* * *
Smallville, Kansas
Thursday,
April 21, 1994
“Ten minutes! Ten minutes until the house is opened.” Rod Purcell intoned into his headset for the cast and crew to hear, as he finished adjusting three of the casts’ microphones. He moved his fingers deftly over the soundboard and checked one more crucial setting.
Martha looked over the impressive set and checked with all the backstage crew to make sure everything was ready. This had been the most exciting three weeks of her life. The Smallville Players from the future had descended upon them, Claire explaining to everyone other than the Kents that her father’s theatre group from Elysian, Minnesota were arriving to do a show together with Martha’s group.
The only sad moment in the three weeks was the death of Libby Barton and the memorial service that the entire Smallville Players’ company attended. But life had to go on, and tonight it would go on with trumpets blaring.
Picking up Dan, Donald, Lois and Clark to flesh out their cast, and using Martha’s backstage people, the two theatre groups--present and past--had worked together as if they always had. And tonight they were to present ‘Man of La Mancha’--a musical that she had only dared to dream that they would do some day. Martha smiled and walked out to the lobby to begin greeting early arrivals before they opened the house.
In the dressing room, Donald Botts, comedy relief of the Smallville Players looked at his reflection in the make-up mirror and added a few more strokes to his penciled in scruffy beard.
Jonathan Kent came up behind him and handed him his sword. “Ready, Donald?” Jonathan asked.
“I’ve been waiting for a moment like this most of my life,” he explained. We’re all ready.”
“Break a leg,” Jonathan told him, patting Donald on the back.
In the wings, a priest stood marveling at what their group had accomplished in so short a time. He could hear the orchestra warming up in the pit and an adrenaline rush began to overtake him.
“Come on!” Lois told Clark, grabbing his hand and pulling him on stage. “We only have ten minutes.”
“Ten minutes for what?” Clark asked puzzled. They had already exchanged pre-show flowers, kisses and good wishes back in the dressing rooms.
“We have to do this *here*”, Lois emphasized, turning to face Clark once they had gotten center stage.
She put her arms around him and looked out toward the closed curtain that was masking the seats that would soon be filled with anticipatory spectators, and cryptically looked back at him. “We fell in love on this stage,” Lois began. “You proposed to me right here on this spot, and two months ago we were married center stage in front of our friends and family.”
Clark leaned down and kissed her. “I guess a priest kissing a whore would normally be frowned upon,” he kidded.
“But Aldonza, the whore, does change. I do change.” Lois insisted.
“You were the one who changed me. Without you I’d be...”
“And without you...”
Clark leaned down and captured her lips once again. As soon as their lips met, the gentleness and tenderness escalated frantically into a deeply passionate search for each other.
As their arms encircled one another and pulled them both closer, Lois knew she needed to stop as there was something important...so important...but it felt too good to stop. She wrestled with logic and emotion, and emotion was winning hands down. Kissing Clark, making love to Clark, a concept that would have been foreign to her a mere seven months before, had now invaded her being--was so much a part of her, that stopping had become an almost impossible super feat.
Three weeks ago, after the incredible afternoon that wrested Tempus and Liz from their lives and assisted Claire and Mr. Wells in setting the future on its appropriate course, she and Clark had returned home exhausted--but as soon as Clark had kissed her, their passion had taken over and their night of love-making, taking place in several interesting locations throughout their house, lasted well into the weekend--their love-making had...had....
“Clark,” Lois insisted, pulling back. “We’ve only a couple minutes left and I brought you here to tell you something.”
“I know. I love you, too.”
“Yes, I love you, Clark and I’m pregnant.”
“You’re...you’re...” Clark began, his eyes lighting up, and a smile filling his face. Then, lifting her up, he spun her around. “When...when...?”
“Around Christmas,” she explained and kissed him.
In the wings, Wil and Claire watched the two embrace. “She’s told him,” Claire said, looking up at her father. “It’s our cue.”
The two visitors from the future walked toward center stage.
“Congratulations,” Wil told the couple.
Claire hugged them both. “Since we already knew, it was awfully hard to wait until you found out, but...”
“We want to...” Wil began.
“Let me, Dad,” Claire insisted. “We want to thank you,” she told them. “Thank you for being you—-for starting a generation of people who care and who made the world my Dad and I love.”
“And most of all,” Wil interjected, “Thank you for helping us get back that world you gave us—-your future world. As a history teacher, Clark, you know that you can only comprehend where you’re going, if you appreciate where you’ve been. You know a little of where you’re going now, because of all this...” he gestured around him. “But we now want to give you something—-an understanding of where you’ve been.”
Claire handed Clark and Lois a small package. “This is from us and Mr. Wells. He...he...well...you guys know what he can do. Anyway, here!”
Clark unwrapped the gift and removed the globe from the box. It hummed and glowed mysteriously.
“It will talk to you when it’s ready,” Wil explained. “Now *we* should get ready,” he told them and pushed everyone off stage, just as the house opened, and members of the Smallville community of 1994 started to stream in.
* * *
Halfway through the performance, Claire was in the wings stage left, waiting for her next entrance.
Kia walked up behind her and turned Claire to help her adjust her costume. “Thank you, Kia,” Claire said, her eyes welling up with tears. “I know that Antonia is your part. Thank you for letting me do it this time.”
Kia smiled at the younger girl. “You’ve earned the role,” she explained. “I’ve done it several times, and now, because of you, I’ll have this and other parts to play in the future. This performance, here and now, is a special moment and it’s time for you to step up and be there on stage with your father,” she said giving Claire a hug. “I’m happy to just be in the chorus to support all of you. But right now, I’ve got to go help Linda with the other costumes,” she said as she turned away.
Once again, as that extraordinary time arrived, Claire Kent moved from the wings to her favorite spot close to the corner of the proscenium and kneeled down. An encore of her father’s finest moment was about to occur. Seeing him sing this song again the way he had before the Change; and now, being able to do it again in 1994 with their new friends around them, was incredible. She knew that with the help of all of these people, she and her father could return to the future--to a future of rededication to the truths and beauty that was so much a part of who they were.
Don Quixote/Wil: (singing)
...And the world will be better for this,
That one man, scorned and covered with scars,
Still strove, with his last ounce of courage,
To reach the unreachable stars!Just as in 2121, the audience rose instantly to their feet. Claire smiled and caught her father glancing over at her with love in his eyes.
* * *
Somewhere in the
space/time continuum
Wells looked at the dial in front of him--2005, 2004, 2003, 2002--he and his precious cargo were honing in on 1994. Any minute now....
* * *
Lois moved next to Claire in the wings. “I know I’m not the one you would want to see doing this part. I’m not your mother,” Lois whispered.
“But you are!” Claire exclaimed, softly. “You are in so many ways,” she said smiling, and put the shawl around Lois’ shoulders. “Let’s go, we’re on.”
On stage the lights dimmed down to spot Don Quixote, huddled, weeping on the floor.
Lois, in the difficult role of Aldonza came toward him, her face devastated by loss and pity as she beheld his vanquish.
The music swelled as the lighting changed back to that of the dungeon, and the various prisoners clustered around the fallen man and then parted as if the red sea, to allow the captain of the guard to enter.
Captain/Dan: (Shouting) Cervantes! Cervantes! Prepare to be summoned.
Cervantes/Wil: (Confusedly) By whom?
Captain/Dan: The Judges of the Inquisition!
The Governor/Larry: Captain! How soon?
Captain/Dan: Soon! (He exits)
The Governor/Larry: But not yet. (To Cervantes, with satisfaction) Good. You’ll have time to finish the story.
Cervantes/Wil: But the story is finished.
The Governor/Larry: What?
Cervantes/Wil At least so far as I know it.
The Governor/Larry: I don’t think I like this ending.
The various prisoners growled, Claire among them. <Yes, this is the ending,> she thought. <The ending of her time here in 1994, but this ending is also a new beginning–-the new beginning of her life back in 2121 and a new beginning for the Lois and Clark of 1994.> The prisoners growled again.
The Governor/Larry: I don’t think the jury likes it, either.
The Duke/Scott: Well, then—-he’s failed.
The Governor/Larry: Miguel de Cervantes. It is the sentence of the court—
Cervantes/Wil: (Panicky) Wait!
The Governor/Larry: For what?
Cervantes/Wil: If I could have a little more time?
* * *
The time machine stopped with a thud as it reached April 21, 1994 and billows of steam filtered out from both sides. Wells escorted his passenger back stage.
* * *
On stage, Larry, once head of the underground freedom fighters known as ENCORE, glanced at the prisoners he now led.
The Governor/Larry: Oh, *I’ll* grant you time. But the Inquisition...?
Cervantes/Wil: A few moments only! Let me improvise…
The prisoners moved around quickly to change the dungeon into the shape of the bedroom in Alonso Quijana’s home. The lights altered to bounce off the cyc in a way that emulated shafts of dying sun, as the bed and its occupant—-Don Quixote—-are revealed to the audience. Quixote’s eyes looking like windows on a mind that has retreated to some secret place, fluttered and then opened.
Antonia/Claire: (Voice low, talking to Carrasco) Can you do *nothing*?
Padre/Clark: (With soft compassion) I’m afraid there’ll be more need of my services than Dr. Carrosco’s. (Waves a hand slowly across Quixote’s unseeing eyes) Where is he, I wonder? In what dark cavern of the mind?
Dr. Carrasco/Scott: According to recent theory—
Padre/Clark: Doctor. Please.
Dr. Carrasco/Scott: (Resentfully) Don’t you think I did right?
Padre/Clark: (Sighing) Yes. There’s the contradiction…
Donald Botts, finally fulfilling his life long dream to portray the role of Sancho entered the ‘bedroom’ with his hat timidly in his hand.
Antonia/Claire: You again?
Dr. Carrasco/Scott: Tell him to go away.
Padre/Clark: (Wearily) What harm can he do?
Antonia/Claire: Yes—-it’s all been done! (She lets him pass, grudgingly)
Sancho/Donald: (Bobbing his head to the Padre) Your Reverence. Could I talk to him?
Claire, whose next line was several minutes off, watched the cohorts-—the Smallville players of 2121 and the Smallville players of 1994 edge slowly and deliberately closer to the end of the show. This had been an incredible journey—-a journey of time and of understanding. Her father was right—-knowing your past is the best way to value your future.
She looked over at her father as he lay in the bed ‘dying’. Claire had thought she had lost him; and now he was found, and so was she. Her eyes took in the others. Clark—-knowing him had been a way to look into her own father’s soul, and Lois--being with her was like having her mother back.
Scott, playing the role once occupied by Tempus, looked at Claire. She took Scott’s hand, and squeezed it. They were soon going home—-home to a better world.
Quixote rose up and looked at Aldonza.
Aldonza/Lois: (In protest as he rises) My lord, you are not well!
Don Quixote/Wil: (Growing in power) Not well? What is sickness to the body of a knight-errant? What matter wounds? For each time he falls he shall rise again-—and woe to the wicked! (A lusty bellow) Sancho!
Sancho/Donald: Here, Your Grace!
Don Quixote/Wil: My armor! My sword.
Sancho/Donald: (Delightedly, clapping his hands) More misadventures!
Don Quixote/Wil: Adventures, old friend (Rising with support of Aldonza/Lois and Sancho/Donald—-he sings)
Oh the trumpets of glory now call me to ride,
Yes, the trumpets are calling to me,
And wherever I ride, ever staunch at my side,
My squire and my lady shall be…
I am I, Don Quixote—Aldonza/Lois and Sancho/Donald joined him.
The Lord of La Mancha,
Our destiny calls and we go!
And the wild winds of fortune shall carry us onward
Oh, Whithersoever...(Don Quixote falters)
Aldonza/Lois: (Cries out apprehensively) My lord--!
Sancho/Donald: Master--!
Don Quixote/Wil: (Trying to reassure them)
Whithersoever they blow,
Onward to glory-- (He falls to his knees)
...I...go... (He crumples to the floor)
Antonia/Claire: Uncle!
Dr. Carrasco/Scott pushed Aldonza aside and knelt to Don Quixote’s left. He bent over and placed his ear to Quixote’s heart, then rose and moved to Antonia/Claire, who was weeping softly. He lifted her bent face and kissed her lips gently. This was their first stage kiss and as Scott looked into Claire’s eyes, he knew that this was not going to be their last--either on stage or off.
The Padre came to Quixote and knelt. He crossed himself and chanted.
Padre/Clark:
De profundis clama ad te
Domine, Domine.Aldonza walked slowly to Sancho.
Padre/Clark:
Audi vocem meam
Feam aures tuae intentae
Ad vacem obse creationis meae
Si delictarum
Memoriam
Serva neris...Sancho/Donald: (Stunned, pathetically) He is dead. My master is dead.
Aldonza/Lois: (Quietly) A man died. He seemed a good man, but I did not know him.
Sancho/Donald: But—-
Aldonza/Lois: Don Quixote is not dead. This man is dead, but Don Quixote lives. Believe, Sancho. Believe.
Lois looked over at Clark whose cowl hid from the audience, the loving glance he gave to his wife. Yes, they now had so much to believe in. Was it only seven months ago that she had arrived in Smallville alone, and now here on this stage she had gained love, a family, friends and a belief in a glorious future to come.
Sancho/Donald: (In confused hope) Aldonza...?
Aldonza/Lois: (Gently) My name is Dulcinea.
* * *
Back stage, Jonathan Kent was readying the stairway; and up in the booth, Jimmy handling the computerize light board and Rod Purcell, his hand poised over the sound board, all heard their cue and moved appropriate levers or pushed appropriate buttons.
In the dressing room, Linda looked at the woman in front of her and tilted her head. “I know!” she exclaimed to Kia who was helping the woman remove her current clothing; and moving quickly to the wardrobe closet, removed a gray tattered muslin dress. “This one was really too big for Claire, but it will fit you beautifully,” she explained as she took in the woman’s condition.
* * *
The on stage lights went out, and in the darkness came the snarling roll of the drums of the Inquisition as the prisoners took their places. The drums gave way to the clanging of chain on chain as the stairway ground slowly into position, and the lights faded up on the prison.
The Captain entered at the head of the men of the Inquisition. They descended to the vault.
Wil now readying to take on the role of Cervantes, kneeled and removed the Don Quixote beard and make-up.
Captain/Dan: (Unrolling a scroll) Under authority of the Holy Office of the Inquisition (Reading) ‘By reason of certain offenses committed against His Majesty’s Most Catholic church, the following is summoned to give answer and submit his person for purification if it be so ordered: Don Miguel de Cervantes.’
Cervantes/Wil: (With wry bravado) How popular a defendant I am. Summoned by one court before I’ve quite finished with another. Well? How says the Judge?
The Governor/Larry: (Musingly, weighing the package he now held in his hands) I think I know what this contains. The history of your mad knight? (Cervantes nods assent. The Governor hands him the package) Plead as well there as you did here and you may not burn.
Cervantes/Wil: I’ve no intention of burning. (To his manservant) Well, old friend? Shall we go? (Reassuring him) Courage!
The two walked to the stairs. Wil turned back toward all the prisoners gathered in the great room. He looked at Clark, then Lois and lastly his eyes rested on his daughter, Claire. For just a second he let his mind wander. He remembered again the words his own father had said to him. ‘Theatre is more than bricks and mortar. It is drama, and passion, mystery and comedy and life. And life must go on.’ And because of all of them, life would definitely go on.
He took a few steps up the stairs.
The Governor/Larry: Cervantes. (Cervantes pauses) I think Don Quixote is brother to Don Miguel.
Cervantes/Wil (Turning back and smiling) God help us—-we are both men of La Mancha.
The Captain, the hooded men, Cervantes and Sancho ascended the stairs.
Aldonza/Lois: (Singing, softly at first)
To dream the impossible dream,
To fight the unbeatable foe, The other prisoners joined in one by one, their backs to the audience and their eyes following Cervantes as he climbed the stairs to his fate.
To bear with unbearable sorrow,
To run where the brave dare not go.Kia draped a shawl over the additional actress’ shoulder and stood in the wings as she watched Karen Kent inch slowly onto the stage to add her voice to the chorus already singing.
To run where the brave dare not go,
Though the goal be forever too far,
To try, though you’re wayworn and weary,
To reach the unreachable star...Out at the back of the house, Martha Kent, watching the performance reach its climax, had tears in her eyes. Martha could hear several of the audience members sniffling as well. This was what theatre was supposed to be—-a view into the humanity of man--a glimpse at who we are and what we can ultimately become.
H.G. Wells removed his hat and entered the auditorium to stand beside Martha. “She’s on stage,” he said softly.
Martha turned and smiled at him through her tears. “How...how...?”
H.G. Wells indicated the theatre and its actors on stage in an inclusive gesture. “You should appreciate this more than anyone, Mrs. Kent--nothing’s impossible.”
As the music swelled to include the full chorus, Wil turned once more to look down at the assembled prisoners. A well-known pair of eyes caught his attention.
Amidst the prisoners, Claire watching her father, and knowing every gesture, every expression, every single nuance, saw something different. Following his gaze, she turned slightly and her heart stopped.
The prisoners moved closer together as they looked up at Cervantes, and then, as their blocking called for, reached out to take one another’s hands. Karen and Claire found each other and grabbing on, smiled up at Wil, who although he yearned to run down to both of them, held steadfast.
Karen put her hand on her protruding belly. She smiled again at the daughter who stood next to her--the young girl who had become a young woman. “It’s going to be a boy,” Karen whispered, beaming, “And I think we’re going to name him ‘Wells’”.
##########
“Wells, that’s me!!!!” The little boy yelled out, gleefully.
“Now Roddy, you know that the story is talking about your Uncle Wells--Wells Kent. You’re Roderick Wells Purcell,” Claire told her son, smiling at him.
“Come on!” her husband, Scott, called out as he walked down the stairs into their living room. “We’ll be late. The curtain goes up at 8:00 promptly and it takes forever to get our make-up on.”
“Just two more minutes,” Claire said to her husband and turned the final page.
##########
Lois saw Claire and Karen clinging to each other, then smiling, took Clark’s hand.
The brand new father to be, his back to the audience, moved his wife’s hand up to his lips and gently kissed it. Then the Kents, present and future--knowing their posterity was assured--joined all the other actors as they turned to face the audience for one last time.
To reach the unreachable star,
Though you know it’s impossibly high,
To live with your heart striving upward
To a far, unattainable sky!The End.
Credits:
‘Arsenic and Old Lace’ by Joseph Kesselring 1940
‘The Man of La Mancha’ by Dale Wasserman -- Music and Lyrics by Joe Darion and Mitch
Leigh (1966)
‘Just in Time’ by Betty Comden, Adolph Green and Jule Styne (1956)
Review of ‘A Connecticut Yankee in King Arthur’s Court’ James Zwick Harper’s
Magazine (1890)
‘A Connecticut Yankee in King Arthur’s Court’ by Samuel Clemmons AKA Mark Twain (1889)
‘Wait Until Dark’ by Frederick Knott (1964)
Robert F. Kennedy Eulogy by Edward Kennedy (1968)
Ronald Colman web site:
http://themave.com/Colman/rc.htm ‘Lois and Clark: The New Adventures of Superman Deborah Joy LeVine et. al. (1993-1997)
The following glossary was obtained and edited from
http://www.theatrecrafts.com/glossary/glossary.shtml Glossary: (some of these may be obvious, but I thought I would include a range of terms that might be helpful)
AD LIB
The presence of mind by an actor to improvise when;
1) another actor fails to enter on cue.
2) the normal progress of the play is disturbed.
3) lines are forgotten.
AUDITION
Process where the director or casting director of a production asks actors / actresses / performers to show him/her what they can do. Sometimes very nerve-wracking, but auditions can be a fairly painless process if handled properly.
AUDITORIUM
The part of the theatre accommodating the audience during the performance. Sometimes known as the "house". From the Latin Audio - "I hear".
BACKSTAGE
The part of the stage and theatre which is out of the sight of the audience. The service areas of the theatre.
BARNDOORS
A rotatable attachment consisting of two or four metal flaps (hinged) which is fixed to the front of a Fresnel or PC type lantern to cut off the beam in a particular direction(s). Similar to shutters or large doors, hence the name.
BLOCKING
The process of arranging moves to be made by the actors during the play, recorded by stage management in the prompt script. Positions at the start of scenes are noted, as are all movements around the stage (using terms such as "Gardener X DSL" meaning the Gardener crosses to downstage left.)
BOARDS
Slang term for the stage floor. (e.g. "How long have you been treading the boards?").
BREAK A LEG
A superstitious and widely accepted alternative to "Good Luck" (which is considered bad luck). More available at the link below.
CANS
1) Headset ear piece, microphone and belt pack used for communication and co-ordination of technical departments during a performance. (e.g. "Electrics on cans", "Going off cans", "Quiet on cans!").
2) Any headsets.
CATWALK
An access walkway to equipment, usually high above the auditorium. Unlike a Bridge, not necessarily across a void.
CENTER STAGE
The middle portion of the stage - has good sight lines to all seats of the auditorium.
COSTUMES
Clothes worn by the actors onstage.
CUE
The command given to technical departments to carry out a particular operation. E.g. Fly Cue or Sound Cue. Normally given by stage management, but may be taken directly from the action (i.e. a Visual Cue).
CYCLORAMA
Usually shortened to just "cyc" (pronounced sike). The Cyclorama is a curved plain cloth or plastered wall filling the rear of the stage. Often used as a "sky" backing to a traditional set, or as the main backing for a dance piece etc. The term is often loosely applied to a blue sky cloth, or any flattage at the rear of the stage. Although strictly a cyc should be curved, most cycs are flat with curved wraparound ends. From Greek Cyclos (circle) and Horama (view or vision).
DOWNSTAGE
1) The part of the stage nearest to the audience (the lowest part of a raked stage).
2) A movement towards the audience (in a proscenium theatre).
DRESS REHEARSAL
A full rehearsal, with all technical elements brought together. The performance as it will be "on the night".
ELECTRIC
In the US, LX bars are ELECTRICs bars. LX1 in the UK (first bar upstage of the proscenium arch) is FIRST ELECTRIC in the US.
ELLIPSOIDAL
A profile lantern with an elliptical reflector. Referred to as a LEKO.
FLAT
A lightweight timber frame covered with scenic canvas. Now usually covered with plywood or hardboard and consequently not so lightweight. Most theatres have a range of stock flattage made to a standard size, and re-used many times.
FRESNEL
(pronounced "Fre-nell") A type of lantern which produces an even, soft-edged beam of light through a Fresnel lens. The lens is a series of stepped concentric circles on the front and pebbled on the back and is named after its French inventor, Augustin Jean Fresnel (1788-1827).
GEL
A sheet of plastic usually composed of a colored resin sandwiched between two clear pieces. Originally made of gelatin. The colored filter absorbs all the colors of light except the color of the filter itself, which it allows through. For this reason, denser colors get very hot, and can burn out very quickly.
GENIE
(Trade Name) A range of mobile access platforms with either hand-cranked or compressed air lifting mechanisms.
GHOSTLIGHT / GHOST LIGHT
A light left burning overnight on stage to keep friendly spirits illuminated and unfriendly spirits at bay. Also believed to keep the theatrical muse in a "dark" theatre, and to stop people tripping over bits of scenery when they come into the theatre in the morning.
HOUSE
1) The audience (e.g. "How big is the house tonight?").
2) The auditorium (e.g. "The house is now open, please do not cross the stage").
MASKING
Neutral material or designed scenery which defines the performance area and conceals the technical areas. (e.g. Masking flat)
OFFSTAGE
1) A movement towards the nearest side of the stage from the centre. (e.g. "Focus that spot offstage a bit please")
2) The area out of sight of the audience (e.g. "Get that donkey offstage!")
**OKIES (not a theatrical term--but included here as an explanation)
People from Oklahoma. Usually a derisive term meaning unsophisticated, dirt poor farmers. Comes to us from the Depression Era -- the Dust Bowl of the 1930s.
ONSTAGE
A movement towards the center of the stage from the sides.
PIT
The area housing the orchestra. Originally, a lower section between the front of the stage and the audience, although now describes any area around the stage housing the musicians.
PROPS
(Properties) Furnishings, set dressings, and all items large and small which cannot be classified as scenery, electrics or wardrobe. Props handled by actors are known as hand props, props which are kept in an actors costume are known as personal props.
PROSCENIUM ARCH
The opening in the wall which stands between stage and auditorium in some theatres; the picture frame through which the audience sees the play. The "fourth wall".
RAKED STAGE
A sloping stage which is raised at the back (upstage) end. All theatres used to be built with raked stages as a matter of course. Today, the stage is often left flat and the auditorium is raked to improve the view of the stage from all seats. This led us to the upstage/downstage terms as the actor actually went up when he/she moved away from the audience, and down when moving toward them.
REHEARSAL
(from Latin hirpex - "large rake used as a harrow". Rehearse means "re-harrow", or to "go over again". It originally meant "to repeat" (mid 14th century). It wasn't until the late 16th century that it came to it's modern meaning.)
A session when actors are called to work through some scenes from the play in private. A TECHNICAL REHEARSAL is the first time when technical elements (lighting, set etc.) are combined with actors. A DRESS REHEARSAL is a performance of the show as it will be on opening night.
SET
1) To prepare the stage for action.(verb) - e.g. "Have you set the chairs for Act 1?"
2) The complete stage setting for a scene or act. (noun) - e.g. "What's the set for the finale?" French: dÚcors.
SIGHTLINES
A series of lines drawn on plan and section to show how much of the stage can be seen by the extreme seating positions in the auditorium. Often marked in the wings as a guide to the actors and crew.
STAGE LEFT / RIGHT
Left/ Right as seen from the Actor's point of view on stage. (i.e. Stage Left is the right side of the stage when looking from the auditorium.)
Stage Right = OP (Opposite Prompt) French: CotÚ Jardin, Netherlands: Toneel Links (translates to Stage Left!).
Stage Left = PS (Prompt Side) French: CotÚ Cour, Netherlands: Toneel Rechts (translates to Stage Right!).
Note: The Netherlands and Germany use the opposite to the rest of Europe; i.e. Stage Left UK = Stage Right. The directions are seen from the director's perspective, NOT the actors.
STRIKE
1) To disassemble a stage set, to remove props from the stage. (e.g. "How many crew do you need for the strike", "Strike the armchair after scene 1" etc.)
2) The act of turning on a discharge lamp (e.g. "Make sure you strike the follow spot at the half").
UPSTAGE
1) The part of the stage furthest from the audience.
2) When an actor moves upstage of another and causes the victim to turn away from the audience he is "upstaging". Also, an actor drawing attention to himself away from the main action (by moving around, or over-reacting to onstage events) is upstaging.
WINGS
Sides of the stage.
**Non theatrical term.
