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We have reduced the playing time considerably, without changing the order or content of the Scenes.
The play is almost entirely in prose, and therefore we do not consider the sentence structure to be in any way sacred. The short segments of verse usually at the ends of acts have been left unchanged. Changes were carefully reviewed to ensure that they did not detract from the character development, or plot development. The biggest changes have been in the sentence construction. The original sentences are longer than is normal these days, with many qualifying clauses being used.
Any qualifying clauses that do not advance the plot, do not help define the characters, and are not funny, have simply been removed. In some cases, a qualifying clause has been removed which may have been considered funny in the 18 th century, but has lost its humour by being out of current context. Simple substitutions such as "you" for "thou" etc. It was considered most important that the first scene be easy for the audience to "connect with". If an audience member loses touch with the language early in the play, there is a strong chance he will not "re-connect", and be alienated right through.
For this reason, the early scenes were read at a meeting of members of VP, very early in the adaptation process.
Later in the rehearsal process, several critical scenes were again played at a VP meeting, to gauge their understandability. We have introduces a couple of obvious and deliberate anachronisms. In place of the several un-named servants of the original script, we used a single actor, given the name "Everywhere" this name is never used in any lines, but was printed in the programme. Everywhere was, at different times, servant to different masters.
He also started the play with the words "Let the play begin", and re-started after interval. We have added to the chances for Scentwell to develop a character, mainly by adding a mimed scene. In early productions, Scentwell is not mentioned in playbills, and may have been cut, or considered too unimportant. In our production, the role was often very favourably commented on.
In our production, the servant characters, Patch, Whisper, Everywhere and Scentwell, showed the audience to their seats, sold programmes and gave out orange segments before the show. This created a rapport with the audience, and drew attention to what otherwise might be seen as minor roles.
She has been a reader and script advisor for Playlab Inc. In doing so, we have also reduced the running time of the play to a length more acceptable to modern audiences.
The silent enemy: a play in one act for six women. 6f. Play: one act Absolute discretion: a one act play. 5m, 9f Busybody: a comedy in three acts. 4m, 4f. Delderfield, R. F.. Sailors beware: an Elizabethan improbability. One-Act. Derrett, Bridget. Light lunch: a play. One-Act. Dines, Michael. Busy-body: a comedy.
The theatre owner, Robert Sidaway was transported for housebreaking, and highway robbery. Susanna Centlivre was born in or thereabouts.
A Woman Keeps a Secret". Jane Binstead used the old standard defence "I don't recall", when questioned as to which fairy she had impersonated in "A Midsummer Night's Dream". She committed crimes against the peace in "Arms and the Man". Heinz Brunner started his criminal career with the misdemeanour of wilfully constructing theatrical settings to deceive the public.
You can jump straight to our best sellers note that the best selling list looks for scripts with a run time of up to an hour or newly-published plays. Follow the links below to narrow-down the search or, at the foot of the page, you'll find two links to our search engines Run-times are estimates from word-count. One-Act Drama by Numbers Plays with all-female casts Plays with all-male casts Plays that can be performed by companies of These are just a few we've noticed.
For shows for which we provide music, see the Musicals pages. We have no information about Mrs Greville, but her husband was a great theatre-goer, and pickpocket. From there, clicking on a title will take you to the script. The Sydney Cove production, by all accounts, was of high quality, with the convicts presenting their roles well, and the venture was considered a success. The short segments of verse usually at the ends of acts have been left unchanged. We think that means a run time of between 20 minutes and 75 minutes. These musical interludes give the production its spine, its shape, heightening the comedy and generally making the whole exercise even more blissful.
They are generally plays where the author has specified the use of songs frequently "popular songs" as a counterpoint to the drama, as distinct from a Musical, where a composer has written specific music for the show. For shows for which we provide music, see the Musicals pages. The above category is separate from the Family Shows. This category covers shows other than pantomimes that are aimed at family audiences. Generally humorous, many also have musical elements. Lazy Bee Scripts Home Page.