Identify lighting cues and sound cues in this scene below
SCENE
Garden at the Manor House. A flight of grey stone steps leads up to the
house. The garden, an old-fashioned one, full of roses. Time of year,
July. Basket chairs, and a table covered with books, are set under a large
yew-tree.
[Miss Prism discovered seated at the table. Cecily is at the back watering
flowers.]
Miss Prism. [Calling.] Cecily, Cecily! Surely such a utilitarian occupation as
the watering of flowers is rather Moulton’s duty than yours? Especially at a
moment when intellectual pleasures await you. Your German grammar is on
the table. Pray open it at page fifteen. We will repeat yesterday’s lesson.
Cecily. [Coming over very slowly.] But I don’t like German. It isn’t at all a
becoming language. I know perfectly well that I look quite plain after my
German lesson.
Miss Prism. Child, you know how anxious your guardian is that you should
improve yourself in every way. He laid particular stress on your German, as
he was leaving for town yesterday. Indeed, he always lays stress on your
German when he is leaving for town.
Cecily. Dear Uncle Jack is so very serious! Sometimes he is so serious that I
think he cannot be quite well.
Miss Prism. [Drawing herself up.] Your guardian enjoys the best of health,
and his gravity of demeanour is especially to be commended in one so
comparatively young as he is. I know no one who has a higher sense of duty
and responsibility.
Cecily. I suppose that is why he often looks a little bored when we three are
together.
27
Miss Prism. Cecily! I am surprised at you. Mr. Worthing has many troubles
in his life. Idle merriment and triviality would be out of place in his
conversation. You must remember his constant anxiety about that
unfortunate young man his brother.
Cecily. I wish Uncle Jack would allow that unfortunate young man, his
brother, to come down here sometimes. We might have a good influence
over him, Miss Prism. I am sure you certainly would. You know German, and
geology, and things of that kind influence a man very much. [Cecily begins
to write in her diary.]
Miss Prism. [Shaking her head.] I do not think that even I could produce
any effect on a character that according to his own brother’s admission is
irretrievably weak and vacillating. Indeed I am not sure that I would desire
to reclaim him. I am not in favour of this modern mania for turning bad
people into good people at a moment’s notice. As a man sows so let him
reap. You must put away your diary, Cecily. I really don’t see why you
should keep a diary at all.
Cecily. I keep a diary in order to enter the wonderful secrets of my life. If I
didn’t write them down, I should probably forget all about them.
Miss Prism. Memory, my dear Cecily, is the diary that we all carry about with
us.
Cecily. Yes, but it usually chronicles the things that have never happened,
and couldn’t possibly have happened. I believe that Memory is responsible
for nearly all the three-volume novels that Mudie sends us.
Miss Prism. Do not speak slightingly of the three-volume novel, Cecily. I
wrote one myself in earlier days.
Cecily. Did you really, Miss Prism? How wonderfully clever you are! I hope it
did not end happily? I don’t like novels that end happily. They depress me
so much.
Miss Prism. The good ended happily, and the bad unhappily. That is what
Fiction means.
28
Cecily. I suppose so. But it seems very unfair. And was your novel ever
published?
Miss Prism. Alas! no. The manuscript unfortunately was
abandoned. [Cecily starts.] I use the word in the sense of lost or mislaid. To
your work, child, these speculations are profitless.
Cecily. [Smiling.] But I see dear Dr. Chasuble coming up through the
garden.
Miss Prism. [Rising and advancing.] Dr. Chasuble! This is indeed a pleasure.
[Enter Canon Chasuble.]
Chasuble. And how are we this morning? Miss Prism, you are, I trust, well?
Cecily. Miss Prism has just been complaining of a slight headache. I think it
would do her so much good to have a short stroll with you in the Park, Dr.
Chasuble.
Miss Prism. Cecily, I have not mentioned anything about a headache.
Cecily. No, dear Miss Prism, I know that, but I felt instinctively that you had
a headache. Indeed I was thinking about that, and not about my German
lesson, when the Rector came in.
Chasuble. I hope, Cecily, you are not inattentive.
Cecily. Oh, I am afraid I am.
Chasuble. That is strange. Were I fortunate enough to be Miss Prism’s
pupil, I would hang upon her lips. [Miss Prism glares.] I spoke
metaphorically.—My metaphor was drawn from bees. Ahem! Mr.
Worthing, I suppose, has not returned from town yet?
Miss Prism. We do not expect him till Monday afternoon.
Chasuble. Ah yes, he usually likes to spend his Sunday in London. He is not
one of those whose sole aim is enjoyment, as, by all accounts, that
unfortunate young man his brother seems to be. But I must not disturb
Egeria and her pupil any longer.
29
Miss Prism. Egeria? My name is Lætitia, Doctor.
Chasuble. [Bowing.] A classical allusion merely, drawn from the Pagan
authors. I shall see you both no doubt at Evensong?
Miss Prism. I think, dear Doctor, I will have a stroll with you. I find I have a
headache after all, and a walk might do it good.
Chasuble. With pleasure, Miss Prism, with pleasure. We might go as far as
the schools and back.
Miss Prism. That would be delightful. Cecily, you will read your Political
Economy in my absence. The chapter on the Fall of the Rupee you may
omit. It is somewhat too sensational. Even these metallic problems have
their melodramatic side.
[Goes down the garden with Dr. Chasuble.]
Cecily. [Picks up books and throws them back on table.] Horrid Political
Economy! Horrid Geography! Horrid, horrid German!
[Enter Merriman with a card on a salver.]
Merriman. Mr. Ernest Worthing has just driven over from the station. He
has brought his luggage with him.
Cecily. [Takes the card and reads it.] ‘Mr. Ernest Worthing, B. 4, The Albany,
W.’ Uncle Jack’s brother! Did you tell him Mr. Worthing was in town?
Merriman. Yes, Miss. He seemed very much disappointed. I mentioned
that you and Miss Prism were in the garden. He said he was anxious to
speak to you privately for a moment.
Cecily. Ask Mr. Ernest Worthing to come here. I suppose you had better
talk to the housekeeper about a room for him.
Merriman. Yes, Miss.
[Merriman goes off.]
Cecily. I have never met any really wicked person before. I feel rather
frightened. I am so afraid he will look just like every one else.
30
[Enter Algernon, very debonnair.] He does!
Algernon. [Raising his hat.] You are my little cousin Cecily, I’m sure.
Cecily. You are under some strange mistake. I am not little. In fact, I
believe I am more than usually tall for my age. [Algernon is rather taken
aback.] But I am your cousin Cecily. You, I see from your card, are Uncle
Jack’s brother, my cousin Ernest, my wicked cousin Ernest.
Algernon. Oh! I am not really wicked at all, cousin Cecily. You mustn’t think
that I am wicked.
Cecily. If you are not, then you have certainly been deceiving us all in a very
inexcusable manner. I hope you have not been leading a double life,
pretending to be wicked and being really good all the time. That would be
hypocrisy.
Algernon. [Looks at her in amazement.] Oh! Of course I have been rather
reckless.
Cecily. I am glad to hear it.
Algernon. In fact, now you mention the subject, I have been very bad in my
own small way.
Cecily. I don’t think you should be so proud of that, though I am sure it must
have been very pleasant.
Algernon. It is much pleasanter being here with you.
Cecily. I can’t understand how you are here at all. Uncle Jack won’t be back
till Monday afternoon.
Algernon. That is a great disappointment. I am obliged to go up by the first
train on Monday morning. I have a business appointment that I am anxious .
. . to miss?
Cecily. Couldn’t you miss it anywhere but in London?
Algernon. No: the appointment is in London.
31
Cecily. Well, I know, of course, how important it is not to keep a business
engagement, if one wants to retain any sense of the beauty of life, but still I
think you had better wait till Uncle Jack arrives. I know he wants to speak to
you about your emigrating.
Algernon. About my what?
Cecily. Your emigrating. He has gone up to buy your outfit.
Algernon. I certainly wouldn’t let Jack buy my outfit. He has no taste in
neckties at all.
Cecily. I don’t think you will require neckties. Uncle Jack is sending you to
Australia.
Algernon. Australia! I’d sooner die.
Cecily. Well, he said at dinner on Wednesday night, that you would have to
choose between this world, the next world, and Australia.
Algernon. Oh, well! The accounts I have received of Australia and the next
world, are not particularly encouraging. This world is good enough for me,
cousin Cecily.
Cecily. Yes, but are you good enough for it?
Algernon. I’m afraid I’m not that. That is why I want you to reform me. You
might make that your mission, if you don’t mind, cousin Cecily.
Cecily. I’m afraid I’ve no time, this afternoon.
Algernon. Well, would you mind my reforming myself this afternoon?
Cecily. It is rather Quixotic of you. But I think you should try.
Algernon. I will. I feel better already.
Cecily. You are looking a little worse.
Algernon. That is because I am hungry.
Lighting cues:
- The scene takes place in the garden of the Manor House, so natural light from the sun would be present.
- Depending on the time of day, the lighting could be bright and sunny or softer and more subdued.
- There may be dappled lighting from the shade of the yew tree.
- As the scene progresses and Miss Prism and Dr. Chasuble walk away, the lighting may change to indicate their departure.
Sound cues:
- The sound of Miss Prism calling for Cecily.
- The sound of water as Cecily waters the flowers.
- The sound of a book being opened on the table.
- The sound of writing as Cecily starts to write in her diary.
- The sound of footsteps as Dr. Chasuble enters the garden.
- The sound of a bow being raised as Chasuble greets Miss Prism.
- The sound of their conversation as they speak to each other.
- The sound of a book being picked up and thrown on the table as Cecily expresses her frustration.
- The sound of Merriman's footsteps as he enters with a card on a salver.
- The sound of paper rustling as Cecily reads the card.
- The sound of a door closing as Merriman exits.
- The sound of footsteps as Algernon enters.
- The sound of Cecily and Algernon speaking to each other throughout their conversation.
Lighting cues:
- The scene takes place in a garden, so natural sunlight would be present.
- The mention of a large yew-tree suggests that there may be shade in some parts of the scene.
Sound cues:
- The sound of water can be heard as Cecily waters the flowers.
- Miss Prism calls out to Cecily, indicating her voice would be heard.
- The sound of pages turning as Cecily opens her German grammar book.
- There may be background ambience sounds of birds chirping or insects buzzing in the garden.
- The sound of footsteps as Dr. Chasuble enters the scene.
- The sound of books being picked up and thrown on the table.
- Merriman's footsteps as he enters with a card on a salver.
- Algernon's footsteps as he enters the scene.
- The sound of conversation as Cecily and Algernon interact.
In this scene, there are a few lighting cues and sound cues that can be identified. However, since this is a text-based scene and not an actual performance, we can't observe the lighting and sound directly. Instead, we must analyze the text to determine what lighting and sound cues might be present in a performance of this scene.
1. Lighting cues:
- "Garden at the Manor House": The scene is set in a garden, so the lighting would likely be bright and natural, suggesting a daytime setting.
- "under a large yew-tree": This suggests that there might be a shadow cast by the tree, creating a contrast between light and shadow in that area of the stage.
2. Sound cues:
- "Miss Prism. [Calling.] Cecily, Cecily!": This indicates that Miss Prism is calling out loudly, suggesting that her voice should be projected and amplified through a microphone or sound system.
- "Miss Prism. [Shaking her head.]": The action is described as shaking her head, which might create a sound effect of hair rustling or a slight movement sound.
- "Merriman.": When Merriman enters with a card, there might be a door opening and closing sound to indicate his entrance and exit.
Keep in mind that these cues may vary depending on the director's vision and the production design choices for the scene.