Artistic Director, Johnny Cumlately, stood with hand on hip. His other hand flapped limply in the air, a cigarette between two fingers leaving small puffs of smoke with each flap. A look of admiration creased his face as Melton finished his speech.
“Oh, darling, you are divine. No wonder I picked you for the part.” He blew a little kiss and smiled.
Melton smiled, closed his eyes, and placed a hand on his chest before leaving the stage and mincing through the wings to his dressing room.
A group of stagehands stood at the back of the set. “That bleedin’ Melton got the part because he-”
“Shut ya gob, Tanner,” whispered Lead Gang, Lennie. “Ya talkin’ ‘bout the Artistic Director’s favourite little boy.”
“Bleedin liberty, if ya ask me. Him and Melton have been at it all week, and he’s supposed to be getting’ hitched to our manager, Ronnie Darling, isn’t he?”
Lennie ignored Tanner and turned to the gang. “Ok, scene one, act four. And this time put the large flat at the back of the set on three legs and weights. It nearly walked last time.”
The Director’s voice came from the auditorium, interrupting Lennie. “Lennie, sweetie, your people should be moving by now. Do they know about that flat, dear?”
A chorus of, ‘OOhhhh Sweetie’ came from the gang. Annoyed, Lennie walked out onto the stage and looked down at the Director. “Yes. They know. As I told you, these guys have worked the stage for years. And I suggested that the tab man could rehearse his cues too.”
The Director closed his eyes and tried to speak.
Lennie carried on. “And the bloody Flymen are standing up on the platform scratching their bums. When are they gonna’ bring cloths down? On the night?”
Cumlately stamped his foot irritably and rubbed a hand across his forehead, theatrically. Assistant, Mary Melonze put a reassuring hand on his shoulder. “Unfortunately, Johnny, bloody stagehands never understand a genius like you. I’ll talk to him. I think you might reconsider the tabs and flys though, not that we want him to think he has won an argument over your artistic bent.”
Johnny looked lovingly at the freckled face of Mary. “What would I do without you, darling?”
Lennie walked back to the gang. “Right, get the set sorted and-”
Tanner waved a thumb over his shoulder. “Look out mate, here comes Melons galore. Blimey, if she fell over she’d rock herself to sleep tryin’ to get up.”
Mary heard him and watched the gang move off. She stomped up to Lennie.
“If you had the patience to wait until Johnny had the chance to tell you, he already had the idea to let the flys and tabs work this evenings rehearsal. And another thing,” she said, turning away, “That Tanner needs to button up his mouth. I hear that kind of language again, and I’m going to-”
Lennie interrupted her. “Fire him?”
“No. I’m going to kick him in the goolies.”
Comments
Cue-board – Stage Manager cues lights, tabs, cloth drops, and scene changes written in chronological order and timing……
Number 23 – all coloured gelatine have a number which electrician plots under artistic Directors plotting for each scene
Fly platform – two men pull heavy backcloths up and down with each scene change on a counterweight system……
Bar or bars – commonly used to hang stage lighting and special effects on as well as cloths.....
Large 30ft scenery flats can 'walk' or 'shiver' and fall if weighted incorrectly on a raked stage.
Nice atmosphere you've created here. I'm reminded of several characters I once worked with, in the cauldron of art called theatre, where some things get obsessed about and important stuff is ignored. I sense rebellion is not far off. Where is the Stage Manager? She (they are all shes in this, aren't they?) should be sorting out that mess backstage. And what is the play? A Wet Midsummer Night's Dream? You won't sell tickets if people don't know what they're coming to see. Yes, yes, I know everyone here is making a play in their own way, but you know what I mean. And keep your kicks to yourself.