Brigadoon Production Concept Package - Academicsecademy.agnesscott.edu/~dthompson/BrigadoonWeb/Brigadoon Pro… · David S. Thompson, Brigadoon Concept 3 DIRECTORIAL NARRATIVE Preface

Production Concept Package

Prepared for Brigadoon Book and Lyrics by Alan Jay Lerner

Music by Frederick Loewe

Produced by Atlanta Lyric Theatre

J. Lynn Thompson, Artistic Director

Stage Director David S. Thompson Music Director / Conductor J. Lynn Thompson Choreographer Lee Harper

Scenic Designer Ben Needham Costume Designer Sean Patton Sound Designer Paul Fallat Lighting Designer Ken Yunker

Performance dates April 23-25, 2004

Prepared by David S. Thompson, Ph.D.

David S. Thompson, Brigadoon Concept

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DIRECTORIAL NARRATIVE

Preface

Before discussing the production itself, allow me the presumption to take a

moment for myself. Several years ago, I was teaching a directing class in which it was

apparent that the students had not taken the work seriously. By some psychic

convergence or celestial alignment, I had an entire class populated by individuals who

had conspired to put forth as little effort as possible. Direction is a largely invisible

pursuit, particularly to the casual observer, but frequently to the knowledgeable audience

as well. Thus, many inexperienced directors approach the task hoping the cast will carry

them. Of course, such an attitude absolves them of any responsibility and likewise

removes the need for any preparation.

In order to convince this recalcitrant lot that they had some work ahead of them,

indeed quite a bit of work, I created a format for a director’s package. I told the class that

I had added an assignment to the syllabus and passed a form around. Each of them was

to provide a detailed directorial concept along with preliminary thoughts on

characterization and staging. They were also required to provide a listing of design

elements, not so much to take the place of designers, but to remind them that taking to

collaborators with any measure of intelligence would require forethought. Although the

original form was only a single page in length, and remains approximately the same

length today, the narrative was certain to run many pages. The submissions of that first

class ranged from eight to twelve pages in length. By contrast, current students submit

papers of up to 40 pages for the analysis of a one-act play.

When I began working in my current position at Agnes Scott, I found that I had

received a directing assignment at a time of dual difficulties—1) I had not yet arrived in

Atlanta, meaning that I had to plan production via long distance; and 2) many of my

collaborators were in the midst of another show and could not devote adequate time to

my project. I realized that following the same plan I had laid out for my students had the

potential to reap benefits. Getting my thoughts on paper would give us something to

work with. That is what you see here.

As with any writing project or theatrical collaboration, the thoughts presented

here are in various stages of refinement. Not everything is golden, nor should we expect

it to be. I do not intend these thoughts to be the final version, but simply a way to let you

know how I am reacting to the material and to the project as a whole. Nothing is set in

stone and everything is open for discussion. I hope that this will offer a starting point so

that we can revise our thinking rather than start from scratch.

Similarly, I do not intend this document to take the place of collaboration. In fact,

just the opposite is true. I hope that I can provide a catalyst for discussion while leaving

room for the contributions of all. In some instances, I might refer to a technique as a

shorthand means of description, but by no means do I intend that as prescriptive. When

talking about design, for example, I will try to speak in terms of images rather than

solutions. For a director to tell a lighting designer, “I want 16 pure white follow spots at

this moment,” is a great way to ensure that neither director nor designer will be happy

with the result. The same holds for the entire production team. Talking about ideas and

problems while working toward techniques and solutions is far more satisfying.


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Background

In approaching the concept for Brigadoon, I find myself fighting against several

factors. Although conflict might prove a valuable tool for the actor, it typically is not as

useful for members of the production team. Thus I have found it necessary to turn the

negatives into positives.

One negative is the vision of the film version, which I think many of us agree is

largely a vehicle for Gene Kelly. Granted, watching Gene Kelly sing and dance his way

through any landscape is always interesting. However, the film has little to do with the

stage show. It rearranges aspects of the book and score to suit its own purposes. Thus,

one must take note of the film selectively. For me, the greatest attribute of the film is the

energy of the large production numbers. Although they are particularly cinematic in style

and tend to focus on a series of random individuals rather than a collection of interrelated

townspeople, the scenes of group emotion are worth noting.

Another perceived negative would undoubtedly open me to charges of heresy

within the theatrical fraternity, for some see it as a decided strength. For me, the score is

almost too romantic. It is loaded with ballads and love songs that spend its capital and

would seem to leave a production with no place to go. The romance, however, actually

provides a direction for the company.

Concept

Brigadoon is a tale of love, hope and faith, all told with unabashed belief in such

notions. Only the most cynical of us would approach the show without recognizing its

center or by trying to ignore it. The question then becomes one of certainty or the lack of

it. Why would we not choose to live in an enchanted place? What are the possible

drawbacks? It is appropriate that we first see Tommy and Jeff hunting in the Scottish

countryside, because much of the imagery involves searching, looking or waiting.

Tommy has obviously never found what he is looking for while Jeff has surrendered.

Fiona is “waiting for her dearie,” fully believing that he will come. Even if divine

intervention is required, it will happen—couples will united, Brigadoon will be safe and

belief in something miraculous will prevail.

In order to accomplish the sense of the miraculous, I think that we must

emphasize the basic humanity of the people of Brigadoon. Naturally, they seem unusual

(or odd or strange or quaint) at first. As we get to know them, however, we should see

that each character is fully formed in three dimensions. If we rely on cliché, we lose the

chance to make the people seem real. Without the people, there is no town and no

miracle.

One technique to draw focus on the characters involves the selectivity and

constructivist nature of the set. All details are mere suggestions of the larger

environment that surrounds each scene. Without the naturalistic details, the people

become the object of our attention.

Anther way I hope to concentrate on the people is by creating a strong sense of

community. The entrance of Tommy and Jeff into Brigadoon should be an awkward


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moment for all. Soon after that, however, their presence should be part of another day in

the Highlands. The people of the town should be friendly with one another, even to the

point of being jovial at times. They look forward to gathering together, whether in

MacConnachy Square or at a wedding. They all know each other and have similar ways

of walking, talking, mourning and celebrating. Except for those few who are unlucky in

love, the townspeople have exactly what they need and want. In a very real way, the

miracle of Brigadoon lies in the fact that its residents have completed their life’s search.

Bringing the humanity to the characters should make their joy more apparent and

lend more credence to the musical numbers. Group numbers will rely upon intimacy and

coordination. Such a philosophy should also apply to Tommy as he displays one of the

classic tenets of the musical theatre—when emotion is too large to contain, sing. The

humanity is also displayed within the nonverbal aspects of the characterization. Several

prominent Broadway insiders old enough to remember the original production have

commented on the work of Agnes de Mille in creating character. Her work provided

more information in mere moments than an entire scene of dialogue. Some even

proclaimed the choreography in Brigadoon superior to Oklahoma! While we certainly

aren’t putting that kind of pressure on Lee, the idea is one of character pervading the

entire production.

By contrast, we should do all we can to make the New York bar (and even the

bookend scenes in Scotland) unappealing. The world outside Brigadoon may be funny at

times, but it is always a bit ugly and a bit confusing. The choice should be obvious to the

audience and to the cast, save for the cynical Jeff.


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SCENIC NOTES

Ben, J. Lynn, I. J. and I spent much of last summer discussing the scenic concept,

so I will not replicate those conversations here. In brief, we have taken our cue from the

book and the notion that scene changes must be accomplished quickly. Thus, we have a

series of wagons designed to revolve or roll into place with the assistance of the cast.

The hope is that actors can change scenes as part of entrances or exits, allowing for no

break in rhythm. As mentioned earlier, the notion of a constructivist approach forces

attention on character rather than environment, a concept that should work in our favor.

For most of the scenic elements the unit will serve as a mansion to anchor the action

while the immediate surround becomes the platea as necessary.

Additional comments appear under the scenario for each scene.


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COSTUMING NOTES

Among the challenges facing the costume design is the notion of worlds colliding.

In this case, however, the world of the past must look more attractive, more inviting and

even more logical. Along with the usual challenges of reinforcing age, personality and

social status, we must make garments of the past—and by extension the characters

wearing them—more attractive than the implications of the 20th

century present. Some

characterizations are obvious. Fiona must be striking enough to catch Tommy’s eye.

Andrew MacLaren must be full of himself and rather haughty. Mr. Lundie should be

more modest and proper. Tommy and Jeff look like 1946 hunters (who are probably

quite well off, but hunters nonetheless).

There are several references to trousers by Archie Beaton, so we must resist the

temptation to put all of the men in kilts all of the time. By the same token, the kilted

tartan would be the logical apparel for the wedding. The women should appear fresh and

open and fun, suggesting (as with the men) a range of households and occupations.

The 20th

century garb should seem to flow logically from Tommy and Jeff into

the world of Brigadoon for much of the action. However, there should be a sense of

disconnect, an edge if you will. The edginess should be particularly apparent within the

bar.



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LIGHTING AND SOUND NOTES

Throughout the scenario section, I have brief notes about contributions to the

mood or tone of particular scenes. In this production, lighting and sound must contribute

to an overall aura that distinguishes a desirable fantasy from a mediocre reality. Thus the

scenes not in Brigadoon must look, sound and feel diminished somehow. The sense of

drab resignation, the daily grind, and a lack of inspired romance are all possibilities. The

challenge for both involves evoking the sights and sounds of an entire day, hour by hour.

We begin just before dawn and range until midnight before Brigadoon disappears and we

try to find it again. If the quality of light can change as the sun passes or if ambient

sounds, where appropriate, can signal the passage of time the effect will be fantastic. Of

course, the most striking effect is the appearance and disappearance of Brigadoon. I

would like to augment the effect with sound effects, if it is possible to do so without

affecting the orchestra and the vocals. I will assume that we will use a scrim in these

scenes. If we can approach the last appearance in particular as a reluctant “tuning in” of

the town, I think it will add to the sense of wonder I am looking for. Throughout the

show, there are many times when the situation requires a more distant or more

sentimental lens through which we view the action, which is something else to discuss.



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CHOREOGRAPHIC NOTES

Act I scene 2

#4 “Vendor’s Calls” (flexible assignment as necessary: stage director or choreographer)

#5 “Down on MacConnachy Square”

Not Included:

Tommy

Jeff

Andrew MacLaren (?)

Fiona (?)

Jean (?)

We have since decided that as many people as possible should be included in all crowd

scenes in order to populate the town (not to mention the stage) and provide better vocal

sound and coordination for the musical numbers.

Questionable Inclusion:

Harry Beaton Harry would have to operate as a reluctant presence, since

this in his mind, this day is more tragic than celebratory.

He would not dance so much as add a counterpoint to the

tone of the number.

Charlie Dalrymple Charlie enters to several “welcomes” later in the scene. If

he participates in this number, he would have to exit

quickly, certainly before the MacLaren family entrance.

Mr. Lundie Lundie’s place in any of the action is open for discussion.

My preference is that his is first seen when Fiona takes

Tommy and Jeff to see him for the explanation of the

Brigadoon miracle (I-5). However, he is a vital part of the

community and we could use him carefully if absolutely

necessary.

Scenery and Properties Considerations:

• The main scenic unit, representing the front of a building on the town square

is primarily left center to upstage left.

• The vendors and their associated wares are portable, although the carts/stands

are probably more difficult to maneuver than baskets or poles.

• To accommodate the blocking in the scene that follows the following ending

placements are needed:

o Archie Beaton’s woolens booth, DL

o Angus MacGuffie’s dairy and egg both, DR or SRC

o Sandy Dean’s candy booth is more flexible and can be relegated to an

upstage area

• Also mentioned in the vendor’s calls are ale (part of Angus’s business) and

salted meat (MacGregor), which is probably dried and attached to a stick or

pole.


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• The book refers to women carrying baskets of vegetables and flowers. These

can be added as needed for visual or kinetic variety or they can be cut

altogether.

Act I scene 2

#7A “I’ll Go Home With Bonnie Jean” Dance/Ballet

CUT SIGNIFICANTLY OR COMPLETELY

(Since our initial meetings, we have decided to cut the dance associated with this song)

This is a number that is open for discussion. I hope to have a raucous community number

that is more about demonstrating bonds. Thus, rather than a set dance, I would like to

incorporate good-natured jostling and perhaps a bit of roust about. The stage director

would be opening to any suggestions from the choreographer.

Act I scene 4

#11A “Come to Me, Bend to Me” Ballet

Possible Inclusions:

Female Chorus (not P or S)

Charlie

As of our previous discussions, we have decided that this dance requires actual dancers if

Lee is going to have any hope of producing something up to her high standards. We have

identified four members of the cast who are likely candidates. They will work with Lee

on this number. Earlier in the scene they will be part of “Jeannie’s Packin’ Up”

Act I scene 6

#18 Wedding Dance

#19 Sword Dance and Reel

This is another instance of the mood of a scene turning on itself. The Wedding Dance is

obviously celebratory. On the other hand, the Sword Dance and Reel should have a bit of

daring and a hint of danger. By the end of #19, Harry is seen hovering over Jean,

obviously attempting either to win her or threaten her in some manner. Although he says,

“All I’ve done is to want ye too much,” the menace and frustration are clear.


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Act II scene 3

#24A “My Mother’s Wedding Day” (possible dual assignment)

#24B “My Mother’s Wedding Day” Dance

#25 The Funeral: (Piobrochead by Maggie)

Not Included in 24A & 24B:

Jeff

Tommy

Fiona

Archie

Harry

Maggie

Bagpipers

Exit Questions:

Jean

Charlie

Meg

This is a high-spirited, good-natured farce of a number that turns into a dance. The

dance, in turn, is interrupted by the funeral procession, turning the scene dark once again.


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PROPS

I.1

• Proscenium units SL and SR

• Possibly additional rocks, moss, vines

I.2

• Angus MacGuffie’s milk and cream booth

o Cups

o Pails

o Glasses

o Ale

o Bottle of claret (jug?)

• Sandy Dean’s candy booth

o Trays or baskets with homemade candy

� Cellophane was not invented until 1908, so there should not be any

pieces wrapped in clear material.

o Cubes/pieces of hard candy

o Traditional Scottish Sweets include marzipan, candied (sugar or marzipan)

dates or fruits, butterscotch, peppermint creams, fudge, treacle toffee, and

various cakes and puddings

• Archie Beaton’s weaving booth (woolens and plaids/tartans)

o Various styles of plaids

o A selection of garments, examples of goods kept back at the house or loom

• Book (Harry Beaton)

• Stools (2-3)

• Salted/dried meat on a pole

• Parchment (MacLaren)

• Tack (MacLaren)

• Basket (Fiona)

• Coin (Tommy)

• Flowers (vendor)

• Vegetables (vendor)

• Flowers greenery around well/building

• Loaf of bread

• Umbrellas / rain cover

• Handkerchief (Jean)

I.3

• Farm tools on wall

• Tarp or drape for earthen “cot”

• Rocking chair


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I.4

• Kitchen implements

o Pots

o Spoons

o Ladles

o Containers

• Fireplace tools

o Poker

o Bellows

o Andirons

o Candlesticks / Candle holders

o Candles

• Hearth décor

• Trunk

• Bench?

• Chair?

• Stool?

• Articles of female clothing

• Red union suit

• Family Bible

• Waistcoat (Harry to Andrew)

I.5

• Book (Lundie)

• Reading glasses (Lundie)

I.6

• Family crests/tartans on standards/poles

• Wedding ring

• 2 swords

• Shawl

• Dirk (knife)

II.1

• Same as previous scene with Kirk and banners removed

• Lanterns? (concern with bulk and ease of movement)

II.2

Same as previous scene


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II.3

• Festive banners or bunting

• Tankards

• Ale

• Black funeral drape

II.4

• Glasses (at least 5 used)

• Bottles

• Bar towels

• Napkins

• Wrist watch

• Telephone, rotary

II.5

• Flask


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CHARACTER OUTLINES

Tommy Albright

Attractive, sensitive, restless, inquisitive, searching

Fiona MacLaren

Graceful, strong, attractive, forthright, patient, slightly mischievous

Jeff Douglas

Fun, witty, ironic, sarcastic, resigned

Meg Brockie

Gutsy, outgoing, unabashed, forward, rough hewn

Jean MacLaren

Lovely, far more reserved than her older sister

Charlie Dalrymple

Thoroughly likeable, good natured

Andrew MacLaren

Pompous, imposing, stern, harsh, concerned at the core

Angus MacGuffie

Straight forward businessman

Archie Beaton

Kind, patient, understanding, generous

Harry Beaton

Frustrated, angry

Mr. Lundie

Kind, wise, measured

Jane Ashton

Edgy, sophisticated, self-centered


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SCENARIO: INTRODUCTION & PROLOGUE

Setting

• Preset; act curtain; ALT logo

Description

• Orchestra plays introduction

• Instrumental fades into invisible chorus singing Prologue

o Prologue: “Once in the highlands…”

o May preview Scottish landscape or may wait until reveal (I.1 – I.2)

Blocking

• Bare stage with quick shift into I.1

Key Points

•

Set Dressing & Props

• Proscenium units SL and SR

• Possibly additional rocks, moss, vines

Costumes

• None

Lighting

• Reinforces expectation of a show to come

• Evocative of dawn, mist

Sound

• Chorus: almost ghostly, yet fully heard

• Wistful and distant in mood and quality


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SCENARIO: ACT I, SCENE 1

FOREST / ROAD

Setting

• A forest in the highlands of Scotland

• May 24, 1946, approximately 5:00am

Description

• Tommy Albright and Jeff Douglas are two Americans on a holiday in Scotland.

• Tommy and Jeff are wandering the countryside and doing a bit of hunting. Their

conversation provides clues about their characters and desires.

• Quite soon they, and we, discover that they are hopelessly lost. The search for

landmarks leads to the discovery of Brigadoon.

Blocking

• The action will utilize the stage apron and the width of the stage.

• Enter SL and cross R. Eventually, Tommy and Jeff will settle on or near the bridge

DR and occasionally wander toward DC.

Key Points

• Tommy is concerned that his life is not clear to him, that “something seems wrong.”

He has escaped from New York in a search, literally a hunt, for answers.

• Jeff has surrendered to his sense of irony and cynicism, turning to overt humor and

alcohol for solutions. He is not much of a hunter in any sense of the word.

• Tommy and Jeff discover Brigadoon rising from the mist. It is a moment of fear and

confusion, but also one of great excitement.


• Rucksack/backpack/knapsack

• Map

• Rifles (2)

• Flask

Costumes

• 1940s cut

• Pants/shirt, hunting jackets (possibly remove as the day wears on)


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Lighting

• Isolate/concentrate on principals as they move

• Dawn about to break

• The discovery of Brigadoon must have an air of fantasy and wonder. It need not be a

huge special effect, since this is the place that will occupy our attention. As we

progress, this distant land and its strange people will seem increasingly real, generous

and desirable.

Sound

• As with the Prologue, the voices of Brigadoon must sound distant, not unlike the

sound of bagpipes echoing through the highlands. They gradually become louder,

clearer and more immediate. Of course, here gradual is a relative term since there is

not much music to work with.


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MacCONNACHY SQUARE

Setting

• MacConnachy Square, the central area of the town of Brigadoon

• Early morning, approximately 9:00am

• The time is now 1746, two hundred years earlier.

Description

• A gathering of all of the townsfolk that, while businesslike in nature, provides a

festive sense of community.

• The mood is upbeat and serves to bring several groups together, introducing us to the

major personalities in town.

Blocking

• Since we are dealing with the town square, the sense should be one of a large space

bustling with activity, so the entire space is used.

• The bulk of the action will revolve among the vendor’s booths surrounding center

stage. By the end of the “Vendor’s Calls” (or at least by the end of “Down on

MacConnachy Square”) the booths should arrive in the following positions:

o Beaton’s Wools: DL

o MacGuffie’s Milk and Cream: R or DR

o Sandy Dean’s Candy: UC

Key Points

• “Vendor’s Calls” = anticipation

• “Down on MacConnachy Square” = community, joy, togetherness

• “Waitin’ For My Dearie” has the challenge of making the number less presentational

in order to build the intimacy and camaraderie.

• “I’ll Go Home With Bonnie Jean” is a wry celebration, as the entire assembly is

aware of both the sanctity of marriage and the hormonal drives of youth.

• “The Heather on the Hill” must simultaneously operate as a flirtation and an

acknowledgement of love at first sight—or perhaps the search for love at first sight.

• The audience must immediately believe that these people are all neighbors, that they

all come from the same place, that they have similar dreams and similar points of

reference.

• The distinction between residents and outsiders should be clear, but should soon give

way to a logical feeling of community, a sense of welcome.

• Along with the basic exposition we should hint at the basic duality within the

characters, particularly that of satisfaction coupled with longing.


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• Angus MacGuffie’s milk and cream booth

o Cups

o Pails

o Glasses

o Ale

o Bottle of claret (jug?)

• Sandy Dean’s candy booth

o Trays or baskets with homemade candy

� Cellophane was not invented until 1908, so there should not be any

pieces wrapped in clear material.

o Cubes/pieces of hard candy

o Traditional Scottish Sweets include marzipan, candied (sugar or marzipan)

dates or fruits, butterscotch, peppermint creams, fudge, treacle toffee, and

various cakes and puddings

• Archie Beaton’s weaving booth (woolens and plaids/tartans)

o Various styles of plaids

o A selection of garments, examples of goods kept back at the house or loom

• Book (Harry Beaton)

• Stools (2-3)

• Salted/dried meat on a pole

• Parchment (MacLaren)

• Tack (MacLaren)

• Basket (Fiona)

• Coin (Tommy)

• Flowers (vendor)

• Vegetables (vendor)

• Flowers greenery around well/building

• Loaf of bread

• Umbrellas / rain cover

• Handkerchief (Jean)

Costumes

• A variety of 18th

century Scottish highland outfits. This is a modest village, so most

of the townspeople should appear simply attired.

• There are a couple of references to trousers from Archie Beaton. The fact that he

sells trousers means that we should resist the urge to place all of the men in kilts.

• A few of the characters should stand apart from the others, not only because of

prominence in the script, but because of their situations. Others may be added to this

list.

o Meg Brockie: gutsy, brassy, flirty, full of life

o Harry Beaton: dark, sullen, brooding

o Jean MacLaren: young, fresh, excited, but shy and modest


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o Fiona MacLaren: strong, confident, assured, attractive, disarming

o Andrew MacLaren: overly formal, perhaps even ostentatious or pompous

o Charlie Dalrymple: young, brash, energetic

Lighting

• Early morning, open, airy, fresh, inviting

• Rain scene: quick downburst, sun returns

Sound

• Sense of occasion for group scenes and songs

• Intimacy for ballads


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BROCKIE SHED

Setting

• The Brockie open shed

• Just past noon

Description

• The primary effect is strictly comedy. Meg and Jeff play the extremes of their

respective groups and the byplay reveals the character of each.

Blocking

• The shed provides the focus for basic “mansion and platea” staging.

• The shed is positioned SLC and the surrounding action will be primarily concentrated

DS of the shed and toward center stage.

• Much of the action will involve interpersonal business that will remain within the

confines of the shed proper.

Key Points

• Emphasis of character and character interaction.

o Jeff is stubborn and insular.

o Meg is outgoing and unabashed.

• “The Love of My Life” offers insight into Meg’s character and her rather odd love

life.


• Farm tools on wall

• Tarp or drape for earthen “cot”

• Rocking chair

Costumes

• As before.

Lighting

• Brighter sunlight; shadow within shed (?)


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Sound

• Allow for both snide commentary and boisterous yelling within an otherwise intimate

scene.


24


MacLAREN HOUSE

Setting

• MacLaren House

• Later that afternoon, about 4:00pm

Description

• As the young women of Brigadoon help Jean pack, several events take place at the

MacLaren House.

o Charlie comes to sign the family Bible and is desperate to see his beloved one

last time before they wed.

o Harry delivers Andrew’s waistcoat and offers another harsh assessment of the

town and its miracle.

o Tommy and Fiona returns from gathering heather.

o Jeff returns from his encounter with Meg.

• After Charlie signs the Bible, Tommy and Jeff discover the true dates of the

MacLaren family history and press Fiona to clarify their confusion.

Blocking

• In another “mansion and platea” setting, SR functions as the primary location for the

action.

• Some of the movement will open to center and downstage, particularly the musical

numbers.

• Charlie and possibly Harry will use the hillside for entrances and exits SL.

• Tommy and Fiona will enter from US.

• Jeff will enter from UR, hidden by the house wall and lower half of the divided door.

Key Points

• Escalation of emotion:

o Anticipation of Jean and Charlie’s wedding

o Growing frustration of Harry Beaton

o Tommy and Fiona clearly in love

o Jeff’s irritation at the situation

o Confusion and mystery concerning information about Brigadoon

• “Jeannie’s Packin’ Up” as a vicarious thrill for Jean’s friends.

• “Come To Me, Bend To Me” should represent Charlie’s last chance to be a romantic

bachelor for his beloved.

• “Almost Like Being In Love” should fight the temptation to be sappy, but still must

celebrate the sentiment of love and joy. It must also have a confessional quality as

Tommy admits his feelings about Fiona to Jeff.


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• Kitchen implements

o Pots

o Spoons

o Ladles

o Containers

• Fireplace tools

o Poker

o Bellows

o Andirons

o Candlesticks / Candle holders

o Candles

• Hearth décor

• Trunk

• Bench?

• Chair?

• Stool?

• Articles of female clothing

• Red union suit

• Family Bible

• Waistcoat (Harry to Andrew)

Costumes

• Questions:

o What changes, if any, need to be emphasized?

o Since this is still the same day, would each character be wearing largely the

same costume?

o Might there be differences to emphasize with the heat of the day?

o Does simplicity and ease of character identity suggest consistency?

Lighting

• Late afternoon for much of scene

• Romance and celebration during musical numbers

• Sense of foreboding during Bible Scene

Sound

• Romance and celebration during musical numbers

• Sense of foreboding during Bible Scene


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LUNDIE

Setting

• Outside the house of Mr. Lundie

• Immediately following previous scene (late afternoon)

Description

• The scene is small and intimate. The four characters involved speak with wonder, yet

candor, about the miracle of Brigadoon. We see the spectrum of reactions from

Lundie’s piety and Fiona’s reverence to Jeff’s indifference. The pull between logic

and emotion places Tommy squarely in the middle.

Blocking

• The scene takes place DRC and quickly follows the scene in the MacLaren House.

• Much of the scene involves intense conversation, so the space will be concentrated to

a relatively small area.

Key Points

• The visual challenge involves concentrating the scene so that there is as much focus

as possible on the revelation of the miracle of Brigadoon without falling into a static

presentation.

• The reaction of each of the individuals serves as a catalyst for threads of the story for

the rest of the show. Thus, even this small, brief scene carries tremendous weight.


• Book (Lundie)

• Reading glasses (Lundie)

Costumes

• Same as previous scene

• Lundie should be quaint and modest, evoking a quiet, contemplative school master

Lighting

• Continue as afternoon

Sound

• Emphasize intimate conversation.


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THE KIRK

Setting

• Outside the Kirk of Brigadoon

• Later the same day at dusk

Description

• The scene ranges through several emotions very quickly. We begin with the

presentation of the clans. It is a solemn show of support and solidarity. The wedding

that follows is modest and unpretentious, yet moving. The wedding dance gives way

to the sword dance and reel. The dance should have a palpable potential energy—

something is about to happen—that infuses an air of danger. The celebration is

shattered by Harry’s attempt to take Jean as his own, which in turns leads to the

pronouncement to destroy the miracle that closes the act.

Blocking

• Clans enter for long cross to hillside SL

• Wedding RC or DRC

• Guests yield to create space C for dance and final moment (possibly with Harry

running over the hillside).

Key Points

• Involvement of entire company, both as a town and as individuals

• Establishing each mood/tone and providing contrast as mood shifts


• Family crests/tartans on standards/poles

• Wedding ring

• 2 swords

• Shawl

• Dirk (knife)

Costumes

• Ideally, there should be a conscious shift to emphasize the ceremony.

• Men would be in “formal” attire, which might suggest kilts representing the clans.

• Women would probably utilize whatever finery is available.


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Lighting

• Beauty of sunset fading into selective darkness to match mood

Sound

• Formal and reverberating….

• Ominous


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SCENARIO: ACT II, SCENE 1

FOREST

Setting

• Forest near the border of Brigadoon

• Immediately following the previous scene (early evening)

• Similar to I.1 and I.2 with hillside

Description

• “The Chase”

Blocking

• Groups of men crossing the stage, splitting and coming together in successive levels

Key Points

• Urgency.

• Lives are at stake and everyone involved must move with intensity and purpose.


• Same as previous scene with Kirk and banners removed

• Lanterns? (concern with bulk and ease of movement)

Costumes


Lighting

• Although only a few minutes have passed, the mood is much bleaker.

• Patterns to emphasize texture—running through the woods

Sound

• Hushed, rushing, chanting, darkly energetic


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ROADSIDE

Setting

• A roadside in Brigadoon

• Similar to I.1 and I.2 with hillside

• A few minutes later (still early evening)

Description

• The aftermath of the chase and Harry’s death forces Tommy and Fiona to come to

terms with their feelings.

Blocking

• Use of general stage space to indicate return of the men to their families and a general

retreat from the unpleasantness and back to the celebration.

Key Points

• Conflicted mood of the entire town, particularly among the men who know the

outcome of the chase

• “There But For You Go I” offers an expression of lasting commitment.

• Keep it simple



Costumes

• Same as previous scene (distressed?)

Lighting

• Darkness continues to intrude

• Focus on Tommy and Fiona for song

Sound

• Range from intimacy to power


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THE GLEN

Setting

• The Glen

• Back to town square

• Add selective decoration

• A short while later; approaching midnight—the end of the day in Brigadoon

Description

• Brigadoon deals with the aftermath of the chase and life seems far less idyllic than it

did just moments ago.

• Tommy realizes that he cannot commit to an idea he does not understand and does

not fully believe.

Blocking

• Use most of the downstage area

• Also use of front of house for bagpipers and funeral procession.

• Jeff and Tommy will exit SR with final effect leaving Tommy near bridge and Fiona

alone C/UC

Key Points

• Contrast is critical.

o Following the wistful “There But For You Go I” comes the raucous “My

Mother’s Wedding Day” and associated country dance

o The festivity is interrupted by the funeral procession, which leads into Jeff’s

persuasive argument against life in Brigadoon and Tommy’s decision to leave.

o “My Mother’s Wedding Day” is juxtaposed against the Funeral Dance; “From

This Day On” serves as the resolution.

• The disappearance of Fiona and Brigadoon must seem logical. It may be as simple as

a selective lighting/scrim effect with appropriate sound adjustments. Whatever the

case, all must be seamless.


• Festive banners or bunting

• Tankards

• Ale

• Black funeral drape


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Costumes

• Distress or dishevel wedding party

• Add black drapes or other symbol of mourning to funeral procession

Lighting

• Accentuate mood for “My Mother’s Wedding Day”

• Contrast for somber funeral and “From This Day On”

• Coordinate ideas for disappearance

o Fade?

o Use scrim?

o Uneven fade (akin to loosing a broadcast signal)?

Sound

• Assist in bright to dark mood of scene

• Possible desolation at end of scene?

o Wind?

o Echo?


33


NEW YORK BAR

Setting

• A bar in New York City

• Late afternoon

• Four months later

Description

• Tommy and Jeff return to their old haunts and find them somewhat less than

desirable. Ironically, the most realistic and logical locale in the show should provide

the greatest level of discomfort.

Blocking

• SL proscenium unit opens (Frank opens bar?).

• Jeff is discovered in bar; Tommy and Jane enter in turn.

• Visions of Brigadoon upstage of bar—toward center stage for ease of sightlines—

Tommy will look past Jane or over her shoulder to see Scotland.

Key Points

• Reality is not as desirable as the fantasy, no matter how fantastic.


• Glasses (at least 5 used)

• Bottles

• Bar towels

• Napkins

• Wrist watch

• Telephone, rotary

Costumes

• Change of clothing for Tommy and Jeff—casual suits v. evening wear?

• Frank in shirtsleeves, possibly with apron

• Jane in sophisticated period dress


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Lighting

• Selectively light, but dark and dingy overall

• A great deal of detail, but none of it is inviting

• Above all, lighting in bar should find level necessary to assist with scrim effect

Sound

• Ethereal quality to the visions/songs from Brigadoon


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FOREST

Setting

• The forest outside Brigadoon

• Three nights later

Description

• Our heroes return to Brigadoon to fulfill the fantasy notion that anything can come

true if you believe.

Blocking

• Much will depend upon the effect agreed upon within production meetings. The

scene should include Tommy and Jeff crossed L-R to bridge, the sound of the chorus

in the distance, the appearance of Lundie and the appearance of the entire town.

• As the town comes into focus, Tommy and Lundie may exit backstage and reappear

upstage to join Fiona and others.

Key Points

• Reinforcing the belief in the impossible.


• Flask

Costumes

• While it might be nice to have costume changes for Tommy and Jeff, along with the

entire town in nightgowns and nightshirts, that seems an unnecessary stretch.

• Fiona, in particular, should be radiant—the object of Tommy’s desire who has in turn

found just what she was waiting for.

Lighting

• In some ways the effect of the entire show is compressed into a single collection of

cues—darkness, gradual revelation, bright tableau.

• The most difficult effect is the reappearance of Brigadoon. As mentioned in passing

in the notes for II.3, I have in mind a gradual appearance. Much as a television

broadcast signal resolves during tuning, I would like to see the town and its people

come into view in waves or in bits and pieces.


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Sound

• As with the songs in the bar, there should be an ethereal quality to the sound of

Brigadoon. However, in this case it should begin in the distance and increase in both

proximity and intensity.

• Another question for consideration:

o Sound of moving from desolation to civilization?

o Stark sounds of wind or echo that fade into the chorus?

Documents

Brigadoon Production Concept Package - Academicsecademy.agnesscott.edu/~dthompson/BrigadoonWeb/Brigadoon Pro… · David S. Thompson, Brigadoon Concept 3 DIRECTORIAL NARRATIVE Preface