OPEN[PLAY]The Torch-Bearers by George Kelly - thw

Plays and other dramatic works
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mightyfelix
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Post by mightyfelix » April 19th, 2020, 3:31 pm

Starting on stage directions now. :thumbs:

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Post by mightyfelix » April 19th, 2020, 3:41 pm

Before I go full steam ahead on act 3 directions, I was reminded by the note at the beginning of the act that I think we omitted the note at the beginning of act 1. :? I'm not sure we should have done that, as it sets the stage for the act. I hesitate to point it out, since it's already such a very long act, but I think it would be helpful. Here it is, if you want to take a look:
NOTE: The drawing-room at Ritter’s, in which the first and last acts are laid, is a comfortable-looking room, suggestive of good circumstance. Toward the back there is a fancy wooden partition separating the hallway from the room proper. This partition begins rather high up on the side walls and curves deeply down to two ornamental columns, five feet high and set about five feet apart, forming the entrance from the hallway to the room. Straight out through this entrance, and paralleling the partition, is the staircase, running up to the left and through an arched doorway. The foot of the staircase is just to the right of the center-door; and then the hallway continues on out to the front door. On the left, there is a passageway between the staircase and the partition, running through an arched doorway to the body of the house. In the room proper, breaking the angle of the right wall and the partition, is a door, opening out, and below this door, a casement-window. On the left, breaking the angle of the left wall and the partition, is the mantelpiece, and below it a door, opening out. Just inside the partition, on either side of the center-door, is a built-in seat.

The entire room and hallway is done in a scheme of silver and the lighter shades of green. All the woodwork and furniture, including the piano and mantelpiece, is finished in silver-green, and the walls and ceiling are in blended tones of orchid, gray and green, decorated with tapestried panel-effects. The carpet is gray-green, and the vases and clock on the mantelpiece, as well as the little cuckoo-clock over the door at the left, are green. The drapes on the casement-window and the doorways, at the head of the stairs and in the left hallway, are in rose-colored brocaded satin; and the pads on the partition-seats are covered with the same material. The piano-throw is a garishly subdued blend of old-rose, Nile green and canary-colored silk.

Right out between the little wooden columns of the center-door, set flat against the staircase, is a small console-table, holding a most beautiful rose-colored vase filled with wisteria; and on the piano there is a similar vase filled with white and yellow blossoms. On either side of the console-table there is a tall torchiere with a rose-colored shade; and the shades on the wall-lights, and the one on the lovely rose-colored vase-lamp on the table down at the right below the casement-window, are all rose-colored.

There’s a brilliant array of cushions about the room, all shapes and sizes, and every color of the rainbow,—and many books and magazines. The piano, up at the right, is littered with music, cigarettes, in a fancy container, flowers and candy—in a pretty box made of pink satin.

The two arm-chairs in the room, one just to the left of the table below the window, and the other at the left side of the table over at the left, are over-stuffed in green-and-silver brocade.

There is a small table below the piano, with a light little chair beside it, the left side, and there is a similar chair over at the extreme left, below the door.

The keyboard of the piano parallels the right wall, with enough room, of course, between the piano-stool and wall to permit of easy use of the door. There must also be room enough above the piano for a passageway between it and the partition-seat.

The rights and lefts employed in the foregoing descriptions are, of course, the player’s rights and lefts.
I guess I overlooked this when I PLed act 1, but the notes at the beginning of these other acts made me go back and take a look. I know, Larry, you're ready to check this off the list already, and I feel bad for missing this big chunk. Todd, would you like this done? And if so, would it be better in its own file, or no?

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Post by mightyfelix » April 19th, 2020, 4:44 pm

But the good news is that Act 3 stage directions have only ONE note, and a very minor one!

41:55 Text reads "Mrs. Pampinelli to Mrs. Ritter." I hear "Mrs. Pampinelli to Mr. Ritter."

Great job, Larry, I can tell that you worked hard on this! :clap:

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Post by ToddHW » April 19th, 2020, 4:55 pm

mightyfelix wrote:
April 19th, 2020, 3:41 pm
Before I go full steam ahead on act 3 directions, I was reminded by the note at the beginning of the act that I think we omitted the note at the beginning of act 1. :? I'm not sure we should have done that, as it sets the stage for the act. I hesitate to point it out, since it's already such a very long act, but I think it would be helpful. Here it is, if you want to take a look:
NOTE: The drawing-room at Ritter’s, in which the first and last acts are laid, is a comfortable-looking room, suggestive of good circumstance. Toward the back there is a fancy wooden partition separating the hallway from the room proper. This partition begins rather high up on the side walls and curves deeply down to two ornamental columns, five feet high and set about five feet apart, forming the entrance from the hallway to the room. Straight out through this entrance, and paralleling the partition, is the staircase, running up to the left and through an arched doorway. The foot of the staircase is just to the right of the center-door; and then the hallway continues on out to the front door. On the left, there is a passageway between the staircase and the partition, running through an arched doorway to the body of the house. In the room proper, breaking the angle of the right wall and the partition, is a door, opening out, and below this door, a casement-window. On the left, breaking the angle of the left wall and the partition, is the mantelpiece, and below it a door, opening out. Just inside the partition, on either side of the center-door, is a built-in seat.

The entire room and hallway is done in a scheme of silver and the lighter shades of green. All the woodwork and furniture, including the piano and mantelpiece, is finished in silver-green, and the walls and ceiling are in blended tones of orchid, gray and green, decorated with tapestried panel-effects. The carpet is gray-green, and the vases and clock on the mantelpiece, as well as the little cuckoo-clock over the door at the left, are green. The drapes on the casement-window and the doorways, at the head of the stairs and in the left hallway, are in rose-colored brocaded satin; and the pads on the partition-seats are covered with the same material. The piano-throw is a garishly subdued blend of old-rose, Nile green and canary-colored silk.

Right out between the little wooden columns of the center-door, set flat against the staircase, is a small console-table, holding a most beautiful rose-colored vase filled with wisteria; and on the piano there is a similar vase filled with white and yellow blossoms. On either side of the console-table there is a tall torchiere with a rose-colored shade; and the shades on the wall-lights, and the one on the lovely rose-colored vase-lamp on the table down at the right below the casement-window, are all rose-colored.

There’s a brilliant array of cushions about the room, all shapes and sizes, and every color of the rainbow,—and many books and magazines. The piano, up at the right, is littered with music, cigarettes, in a fancy container, flowers and candy—in a pretty box made of pink satin.

The two arm-chairs in the room, one just to the left of the table below the window, and the other at the left side of the table over at the left, are over-stuffed in green-and-silver brocade.

There is a small table below the piano, with a light little chair beside it, the left side, and there is a similar chair over at the extreme left, below the door.

The keyboard of the piano parallels the right wall, with enough room, of course, between the piano-stool and wall to permit of easy use of the door. There must also be room enough above the piano for a passageway between it and the partition-seat.

The rights and lefts employed in the foregoing descriptions are, of course, the player’s rights and lefts.
I guess I overlooked this when I PLed act 1, but the notes at the beginning of these other acts made me go back and take a look. I know, Larry, you're ready to check this off the list already, and I feel bad for missing this big chunk. Todd, would you like this done? And if so, would it be better in its own file, or no?
A separate file would be fine. But I think we do need this - I see that the beginning of Act 1 includes the words: "with a glance around the room, at the unusual arrangement of the furniture," so best if we have actually described that arrangement for our listeners first.

Thanks, Todd

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Post by mightyfelix » April 19th, 2020, 6:29 pm

Editing Pampinelli act 1 now. I've found a line that belongs to Mr. Spindler that I think might be an error: "Never mind, Mr. Hossefrosse, it will come." It would make more sense for Mrs. Pampinelli to say this. I remember being a bit confused by it when PLing Spindler, but after recording Pampinelli, it clicked. I'll go ahead and record it, just in case. Your choice.

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Post by mightyfelix » April 19th, 2020, 7:08 pm

Pampinelli act 1 is in the MW. I gave you a mirthless laugh and a funny coughing spell, but they should both be easy to trim out, should you go for stage directions instead.

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Post by silverquill » April 19th, 2020, 10:00 pm

Aha! One missed pronoun, a mistake to which I am prone. Well, I'll take that for another long, complicated set of stage directions. Thanks so much for your careful proofing, Devorah. :9:

And, sorry for missing the notes on Act I. They are tucked in between the end of the preface and the beginning of the Act and cast list. Still, should have seen it, so glad you caught it. :thumbs: It certainly is important to set the scene, especially the wild color scheme!

So, here is the Note and the corrected Act 3

https://librivox.org/uploads/toddhw/torchbearers_stagedirections_note_1_128kb.mp3

https://librivox.org/uploads/toddhw/torchbearers_stagedirections_3_128kb.mp3
~Larry


Celebrating 7 years with LibriVox today

ToddHW
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Post by ToddHW » April 20th, 2020, 7:06 am

Thank you.

Todd

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Post by mightyfelix » April 22nd, 2020, 3:56 pm

Pampinelli, act 2 is up, and I'm about to start editing 3.

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Post by mightyfelix » April 22nd, 2020, 5:50 pm

Alright, Pampinelli is in! And, of course, if you need edits, Todd, you know where to find me. :)

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Post by mightyfelix » April 22nd, 2020, 6:08 pm

And stage directions are all PL ok, as well. We're getting closer! :D

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Post by MrsHand » April 22nd, 2020, 6:28 pm


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Post by mightyfelix » April 22nd, 2020, 6:40 pm

Thank you, Kay! Act 2 is PL ok. :)

Everything is there in Act 1, but a couple of the lines are out of order. :? I guess adding in the missing line at the beginning of the act put the rest just a bit off kilter. Not to worry! The easiest way to fix it will be to cut the "I'm sorry" currently at 4:11 and paste it back in after the second "click-click," which is currently at 4:22. My apologies, I guess it would have been easier if I'd told you which lines were before and after.

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Post by silverquill » April 22nd, 2020, 8:38 pm

mightyfelix wrote:
April 22nd, 2020, 6:08 pm
And stage directions are all PL ok, as well. We're getting closer! :D
Whew!
Thanks for your HUGE effort to PL 4 hours of stage directions and keeping me straight on them. :clap:

I'm burned out on stage directions for awhile, although I do have one project to finish up.
~Larry


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larryhayes7
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Post by larryhayes7 » April 23rd, 2020, 6:40 am

I would like to take the role of Mr. Huxley Hossefrosse if it is not already "spoken" :lol: for

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