Programme notes for Juno and The Paycock by Sean O’Casey.
SET AND PROPS
This production of Juno and The Paycock at The Bristol Old Vic is a
co-production with Liverpool Everyman and Playhouse and is
directed by Gemma Bodinetz. The set has been designed by Conor
Murphy who won the World Stage Design Bronze medal for
Exceptional Achievement in 2013. It was built at The Bristol Old Vic
Scenic Workshops. The lighting designer is Natasha Chivers, sound
designer Fergus O’Hare and the music composer is Peter Coyte.
The play is set in 1922 in a North Dublin slum tenement, home to the
Boyle family.
As we enter the auditorium, the set is in place and on show. The
front half of the stage depicts the main living space of the family
home and the floor is plain dark wood. There is a door, usually lit
from above, facing us left of centre through which the characters
enter or leave the home. On the door frame is a very small wooden
holy water font. In the area in front of the door there is a basic
rectangular wooden table in the centre with three chairs and a stool
around it. There is also an upturned crate with a rope handle which is
used to sit on. The table has a drawer which houses cutlery and is
used for hiding things. On top of the table there is a bread board
with a loaf of bread and a knife, 2 plates, an old cup and a jam jar
which is used for drinking from. There is also a book, compact mirror
and a blue and a green ribbon. Behind the table is a plain dresser
with 3 drawers, on top of which is a small pile of books, a little jug
with wild flowers in and a votive light in front of a framed picture of
The Virgin Mary.
At the front of the stage on the right there is an old iron stove with a
tall thin chimney and a crude wooden chest beside it. There is a
kettle on the stove which is also used as a teapot. Pans and some
crockery are stored in and around the stove. A tin coal bucket is to
the side. A threadbare chair with wooden arms stands between the
table and stove. A shabby curtain hangs on a line to the right of the
dresser, behind which is an old iron bedstead with a thin mattress
and plain green cover and pillow. On the ground at the front left of
the stage is a metal bowl containing water which is used for drinking
and for keeping the jug of milk cool. There is a door on the left wall
which leads to a bedroom which we can only imagine. At one point
in act one a window frame is brought in and placed behind the bed
on the right, level with the door. It is a sash window with many small
panes and is removed once it has been used.
To the rear of the stage, behind the door and simply furnished room
there is a ramshackle mountainous pile of haphazardly entangled old
tables, chairs, large iron bedsteads, wooden slats and pallets, old
mattresses, folded metal trollies and other miscellaneous pieces. The
chaotic jumble resembles a barricade and rises precariously to the
right. High up at the forefront of this heap is a very large door on a
slant which represents the entrance to the tenement building. This
door doesn’t open but the actors clamber and climb over the heap
and go round it. Also incorporated in the muddle is a tatty old
upright piano with its strings exposed beneath the keys. This is
played at times during the play by one of the ensemble. Other
members of the cast climb up on occasions and perch above the
piano amongst the detritus, sometimes playing instruments,
sometimes watching and listening to the action. On the ground in
front of the chaos is a small table with dominoes on, flanked by 2
stools. The shambolic collection of upturned tables, all sorts of
chairs, beds, an easel, window frame, tin bath and other random
furniture continues to the left at the back, but is not piled quite so
high. Amongst this on a raised table is an old working sewing
machine at which one of the actors sits and uses at various times.
The front half of the set is very realistic, while behind is more
atmospheric and symbolic.
Towards the end of Act One the furniture in the room at the front of
the stage is all changed. It is removed and replaced with more
opulent pieces. A central round table with fancy clawed feet, covered
with a tassled floral tablecloth; four polished wood chairs
upholstered with green velvet and an ornate and larger dresser with
three drawers. On top of the dresser are two large matching
decorated vases, a wooden tray holding a new teapot and tea set, a
silver tray with glasses and bottles on and the red votive light in front
of the framed picture of the Virgin Mary. On the floor next to the
dresser on the right is an umbrella stand. There is a green velvet
covered chaise longue to the left of the table and a smart polished
wood and green buttoned leather arm chair to the right. A shiny
copper kettle replaces the old one on the stove and a bright brass oil
lamp with a glass globe stands on the chest next to the stove. A new
smart curtain takes the place of the old one and home-made paper
streamers are hung over the curtain rail.
Other props which are used include a spade, tin buckets, chamber
pot, and an old gramophone with a detachable horn. Old heavy pans
are banged together and used as instruments. Other instruments
played by the members of the cast as well as the piano are spoons,
trumpet, Bodhran Irish drum, violin and lyre.
The lighting is used to emphasise the drama. The contrast between
the dimness during some scenes and the piercing brightness at
certain poignant moments is powerful. Sometimes the lighting forms
shadows and silhouettes on the back wall and at other times light
shines through the gaps in the mountain of chaos.
Programme notes for Juno and The Paycock by Sean O’Casey.
CHARACTERS AND COSTUMES:
As you might expect the characters and costumes of this production
reflect the desperate poverty of tenement living in 1920’s Ireland.
Despite this the careworn Juno manages to look neat and tidy in a
grey ankle length pinafore dress over a white blouse. A long ragged
working apron is tied around her waist and flat black boots complete
her outfit. When she goes out she wraps a thin crocheted shawl
around her shoulders. Her fair, wavy hair is tied back from a face that
shows signs of faded beauty. When her fortune seems to change she
abandons her pinafore dress and wears a long grey skirt with an
elegant grey pin tucked blouse with three quarter length sleeves.
This energetic woman is constantly on the go, moving quickly in her
quest to keep family and home together.
Her husband Captain Jack Boyle is a proud temperamental waster of
a man. He has an element of fun in him but he is not to be crossed as
his temper shows. Short in stature he stands erect with his
shoulders well back, he has a strong face, clean shaven but for a
moustache. Balding he wears a navy mariners cap and shoddy
working man’s clothes, a washed out white shirt with a red kerchief
knotted at the neck together with a charcoal grey waistcoat and
darned trousers. Over this he wears a black silver buttoned double
breasted pea jacket and he has black leather shoes. Later, he takes to
smoking a pipe and he has a brand new check suit. Unfortunately he
never gets to wear it, we simply see it hanging on a hanger.
Their daughter Mary has a job and can afford to wear better
clothing. Of slim build she has a very pretty face and blonde hair that
is pulled back and pinned into a roll. Very concerned with her
appearance she is often looking in a mirror. She first appears in a
blue grey jumper with a matching straight pleated skirt. She wears
stockings and good brown leather lace up brogues with a small heel.
For outdoors she has a fine leafy green woollen coat which buttons
up into a snug fit. A mauve squat hat sits on her head and her arm
slips through the handle of her black handbag. Later she changes
into a patterned brown dress. Fitted to the waist with little puff
sleeves it flares out from the waist to her knees. During the second
act she appears in a long grey skirt with buttons down the side and a
smart long sleeved blouse.
Her brother Johnny is a troubled and maimed young man. An
unkempt beard springs from his handsome, unsmiling face and his
short curly hair is uncombed. He walks with a limp and one arm of
his jacket hangs loosely at his side. His clothes are old and ill fitting,
his shirt and waistcoat and his brown tattered trousers are so worn
that even the patches have torn and his knee shows through.
Joxer Daly is something of a slapstick character but he does have a
darker side which shows when his friend Jack is in trouble. He is
rather good looking with short, dark curly hair and a full beard. He
wears a small bowler hat jauntily place towards the back of his head
together with a white shirt, brown waistcoat and black jacket. His
dark trousers peer over a thick leather belt that is tightly pulled to
keep them up.
He is very comical and given to expressive movements of his arms
and body.
Charles Bentham is Mary’s beau and stands out from the crowd not
only because of his accent and refined ways but by the way he
dresses. He is much taller than the rest of the cast and is very thin.
He has a nice face but his hair which is a gingery colour is flattened
and brushed to one side which together with his general manner and
dress make him appear foppish. When he first appears he is
carrying a brief case and umbrella together with his bowler hat. He
has a smart matching jacket and waistcoat of brown tweed with a
white shirt and tie. Plain brown knickerbockers reach to his knees
and are met by long brown socks. He is shod in brown lace up shoes
which make his feet look enormous.
Maisie Madigan. This brazen, vivacious widow brings a splash of
colour to an otherwise drab scene, although she can turn vicious if
she is thwarted. Bursting on to the scene she is loud and lively. Two
feathers gaily poke up from the back of her red hair which is pulled
loosely back from her face and pinned up. Her blouse of a muted
pinky lilac colour tucks tightly into a red corset around her waist
which then flips out over her hips. Her ruched plum coloured skirt is
full and falls to the floor, covering her high heeled black leather
boots. She later sheds the blouse and corset and wears a simple grey
sleeveless top.
Jerry Devine is of average build and height, a handsome young man
with dark short straight hair. Seemingly a decent type he too has his
dark moments. He is better dressed than the others and wears a V
neck pullover with a light grey suit.
Needle Nugent is a rather dapper man, short and stocky with his hair
slicked to one side he presents a slightly comical appearance. He
quickly moves about and wears dark trousers with a satin lined
matching waistcoat and a bowler hat. Sometimes he has a tape
measure hanging around his neck.
Mrs Tancred makes just one brief appearance. She is a rather stout
lady with wispy grey hair pulled into a bun at the nape of her neck.
She wears the usual clothing of tenement women being a blouse
with a long skirt and apron.
Members of the ensemble only, wear a black cap with white shirt
and black trousers and waistcoat.
The cast in alphabetical order is as follows:
Neil Caple
Needle Nugent and Ensemble
Jonathan Charles
Ensemble
Niamh Cusack
Juno Boyle
Louis Dempsey
Joxer Daly
Donal Gallery
Johnny Boyle
Maggie McCarthy
Mrs Tancred
Des McAleer
Captain Jack Boyle
Aoife McMahon
Mrs Maisie Madigan
Robin Morrissey
Charles Bentham and Ensemble
Maureen O’Connell
Mary Boyle
Fionn Walton
Jerry Devine and Ensemble
That concludes the description. We look forward to seeing you on
27th September when your describers will be Bev and Pete, another
new member of our team. The touch tour will be at 12pm and if you
wish to join in would you please be here ten minutes beforehand.
Lunch can be ordered in house or you may wish to visit somewhere
near by. Alternatively you can bring a packed lunch to eat in the
front of house area. The performance is due to start at 2.30pm so if
you are coming to the performance only would you please be here
by 2.00pm to enable you to collect your headset and check that
everything is working ok.