blood brothers Flashcards

Question

explore Mrs Lyons's character

Answer 1

- Mrs Lyons abuses Mrs. Johnstone's trust and superstitious nature in order to become Edward's adoptive mother, then uses manipulation, lies, and her wealth to try and control the situation - as she gradually loses control, she begins to become superstitious "[sweep[ing] the shows off]" the table after Mr Lyons has placed them there, then calling Mrs Johnstone a "witch" and laying a "curse" on her as she descends into madness - although it is hard to sympathise with her character, it is social inequality that destroys her too: it conditions and enables her to believe that she has a right to anything, and that anything can be bought, corrupting her initially simple and pure desire for a child of her own.

Answer 2

- the narrator guides us through the play, connecting, explaining, and contextualising what we witness - he also asks the audience to make a judgement, directing Russell's key question to us at the end of the play: is superstition or class to blame? - this likens him to an Ancient Greek Chorus or a Medieval 'Vice' character: a dramatic device used to channel the playwright's message by mediating with the audience through personifying certain roles or perspectives throughout - the narrator fulfils many different societal roles throughout the play, suggesting that he represents the indifference of society at large to the struggles of the working class, and our complicity in their suffering - his repeated refrain "y'know the devil's got your number" and other references to the devil and fate bring judgement closer and closer (from "starin' through your windows" to "screamin' deep inside you"), intensifying the inevitability of the tragedy, and - taken alongside how he shapeshifts into a number of different roles - makes him seem like an emissary of the devil, or even the devil himself

Answer 3

- like mickey, when we first meet Sammy, the stage directions also call for him to be "[gun in hand]", and he is deeply involved in his violent "[fantasy]". This escalates seemingly inevitably as the play develops. - however, this introduction could equally suggest that he is imaginative, playful, and charismatic - the society that he grows up in simply doesn't give him any opportunities to channel these qualities positively

Answer 4

as a child he would keep pet worms and hold funerals for them when they die

Answer 5

1. "Sammy laughs at Edward's voice." (A1) 2. "I'm gunna get a real gun soon. I'm gunna get an air gun." (A1) 3. "He's a friggin' poshy." (A1) 4. "Fuck off (produces a knife) now move, you. Move! Give me the bag." (A2) 5. "we don't use shooters. They're just frighteners." (A2) 6. "Don't piss about with me pal. I said give." (A2) 7. "Y' don't get up again if one of these hits y'". (A2) 8. "Quick, get in the house an' bolt the fuckin' door." (A2)

Answer 6

- Mr Lyons' emotional distance echoes the physical absence of Mr Johnstone. He uses his work as an excuse, but this only lends a respectable veneer to his lack of compassion for and neglect of his wife and son, as well as concealing possible infidelities - this illustrates the hypocrisy of middle-class value - we don't actually know for certain what "The Company" is, highlighting the impersonal conceit of business, and its disdain for the working class - in the song "Miss Jones", the language in the redundancy letters echoes the condescending platitudes useed by society's gatekeepers: "regret to inform you"; "quite beyond out control"; "afraid"; "unfortunate"; "just another sign of the times"; "peculiar" - with the insincerity this reveals highlighted by "Etcetera blah blah blah".

Answer 7

1. "all women like to hold babies, don't they?" (A1) 2. "it's this depression thing that happens after a woman's had a...[baby]" (A1) 3. he makes the unlikely claim that he "has to go to work for an hour" (A1) 4. "if we complete this merger we will, I promise you, have more time." (A1) 5. "I've got a board meeting. I really must dash." (A1)

Answer 8

``` the numerous, anonymous archetypal figures that appear throughout the play (e.g. milkman, gynaecologist, bus conductor, policemen, judge, conductor, teachers, doctor, warder) represent people who all have varying degrees of control over the working class, using their power and influence to contain them and limit their chances of escaping poverty - knowingly or otherwise. Russell uses these characters to expose the realities of the ruthlessly competitive and individualist culture encouraged by Thatcherism. They exhibit a lack of compassion; use condescending, empty platitudes; and are deeply self-serving and hypocritical, discriminating in favour primarily of social class and money, but also the possibility of sex. It is significant that the narrator is scripted to perform many of these roles, and also frequently plays more of them in different productions. ```

Answer 9

``` the play follows a cyclical structure, with the tragic ending of the play being shown to us at the very beginning. Russell uses this structure because it reinforced the centrality of the class/fate dynamic, and also removes the burden of working out what happens from the audience, allowing them to focus entirely on how and why the tragedy happens - which is itself tied to the class/fate dynamic. Russell also weaves a number of different patterns through the fabric of his play. He creates connections and contrasts between characters (e.g. Linda's and Donna Marie's lives follow the same route as Mrs Johnstone's); uses recurring motifs (e.g. guns) and formulae (Mickey's "gis a sweet" becomes "gis a ciggie"); and uses parallel scenes (where we see two separate but interconnected episodes happening simultaneously on stage). These methods further strengthen the importance of the class/fate dynamic, and help to highlight the different experiences of working class and middle class people, as well as some underlying similarities. ```

Answer 10

the production notes that precede the play suggest that the stage should be kept simple with only "[semi-permanent]" areas being the "[exterior front door of the Johnstone house]" and the "[interior of the Lyons' comfortable home]", positioned on opposite sides of the stage. This uses proxemics to visually establish, and continually reinforce, the dynamic between the two families - and the classes they represent - making the centre of the stage a tense, contested zone. It is also interesting that Russell wants the Johnstone's inner world to remain hidden, whereas the Lyons family are made to seem eager to openly flaunt their privilege - it is "a palace". In the transition from Act One to Act Two, both families leave Liverpool. The Lyons family choose to move from the park to a house on a hill; the Johnstones are rehoused from their terrace to a new estate. For the Lyons family, the countryside represents an escape from the perceived negative influences of the working class, a pleasant but underwhelming distraction ("Oh, look, Edward...look at those trees and those cows"). For the Johnstones, the countryside represents an escape to a more positive, "new situation", where they can leave behind the "mess", "much an' the dirt an' the bloody trouble" of Liverpool, and enter a fantastical paradise characterised by cleanliness, space, and simple comforts that they have been denied this far. However, neither family can escape the class/fate nexus.

Answer 11

1. structure 2. setting 3. song, music and sound

Answer 12

songs are part of the narrative, reinforcing key ideas, and also serving to fill in gaps or lapses in time. The recurring, continually evolving "Marilyn Monroe" is the clearest example of this as its allusion to the tragic Hollywood legend encourages the audience to develop a more profound understanding of the tragic world the characters inhabit. Russell also uses a number of duets to emphasise the differences and similarities between characters across the class divide.

Answer 13

Russell frequently uses incidental music and sound effects to suggest the ominous power of fate, reminding us of the impending tragedy. - a heartbeat "[grows in intensity]" as the two women make their pact, before it "[suddenly stops]" and is replaced by the crying of the twins - "[music is quietly introduced]" when Edward gives his farewell present - a toy gun - to Mickey, and when Mrs Lyons opens Edward's locket - a gift from Mrs Johnstone - in Act 2 - when Mickey discovers Edward and Linda's affair, the music "[abruptly segues]" from Mrs Johnstone's song, and "[pulsates and builds]" as Mickey retrieves Sammy's gun and Mrs Johnstone and Linda realise what is happening, only to "[abruptly]" stop as Mickey reaches Edward at the town hall

Answer 14

- although the Narrator asks us to decide between superstition and class when apportioning blame for the tragedy, arguably Russell's message is that social inequality, particularly when formalised by and artificially demarcated class system, is so fixed as to be almost like fate: the lives of all the characters - rich and poor - are determined by the social class they are born into, and they seem to have little individual agency - perhaps we should see Mickey and Edward as the two helpless worms that Sammy keeps, captured and controlled by an incomprehensible force, and doomed to a grim fate, symbolising the societal forces outside of their control

Answer 15

- fate and superstition are manifestations of social inequality: beliefs that emerge when people have limited control over their lives (working class) or as a means of obscuring reality, avoiding facing up to individual and collective guilt (middle class and societal gatekeepers) - unemployment is framed by the middle class as "a sign of the times", something which is "quite beyond our control", illustrating how they use the obscure language of superstition to absolve themselves of blame - whilst the destiny of the characters is determined before we even meet them, we might still ask how free each of the characters was to make decisions other than those that contribute towards the tragedy: to what extent have their social circumstances dictated how they will respond in any given situation?

Answer 16

- as Mickey, Edward, Linda, and Sammy grow up across the course of the play, their lives change drastically and the gap between them widens - building on the idea that social inequality is like fate, the trajectory of their lives seems predetermined - whether that is Sammy turning from the hopelessness of the "dole" to a life of crime, or Edward progressing seemingly effortlessly through boarding school, university and politics

Answer 17

as with every other aspect of the play, the relationships that the characters form with one another are governed by the class/fate dynamic. Nevertheless, whilst the tragedy of the play is precipitated by the relationships that the characters try to sustain across the class divide, the capacity for love - whether between friends, parents and children, or partners - is something which gives the characters strength and is when we see them at their most admirable and independent, free of the systems that control their livesq

Answer 18

- violence bookends the action on stage, and pervades the entirety of the play. It is also common to the lives of both classes: from the open, endemic violence that dominates the lives of the working class, and even infuses their very language ("dead funny", "bleedin'"); to the concealed aggression of intimidation, acquisition, and control that characterises the actions of the middle class and the societal gatekeepers - Russell uses violence to reveal the hypocrisy of the class system and its destructive nature - there is a clear escalation in violence as the play progresses: from imaginary guns, cap guns, a catapult, an air gun, knives, to a real gun. Guns in particular are used as a motif throughout the play, appearing at defining moments - such as when we first meet characters - and proving to be the ultimate arbiter of the class/fate dynamic

Answer 19

the death of Sammy's worms - "alive an wrigglin' this morning. But by dinner time they were dead" - foreshadows the short lives of Mickey and Edward

Answer 20

- all of the characters spin intricate webs of secrecy, lies, and deceit, entangling not only their enemies but their loved ones, and ultimately themselves. - Although it can be argued that the characters independently made the decision to act in these ways, revealing their weaknesses, once again it could also be said that Russell is asking us to question how much social inequality itself is the driver of their actions, providing them with the framework for how they interact with their world.

Answer 21

Marylin Monroe was arguably the most famous Hollywood actor of the 1950s and early 1960s, and an icon sex symbol. However, she suffered with anxiety and depression, becoming increasingly reliant on medication. She died in Los Angeles in August 1962 after an overdose. Monroe's decline and death mirror what happens to Mickey, and also the tragedy of the play as a whole. In Act One, Monroe represents an ironic hopeful fantasy Mrs. Johnstone clings to. In Act Two, Monroe's decline becomes an ominous sign: she prays Edward will "be OK/ Not like Marylin Monroe"; she says that "[Mickey] treats his ills with daily pills/ Just like Marylin Monroe". In Mrs. Johnstone's final song, she wishes that the tragedy could be "just a dream [...] just a scene" from an "old movie of Marylin Monroe" performed by "some clowns / Two players in the limelight". This metatheatrical disruption seems intended to encourage us to consider the painful reality of social inequality: this may have been a story but, as with the life of Monroe, such illusions should not conceal real suffering.

Answer 22

a socially unconventional person; a non-conformist

Answer 23

disenfranchise

Answer 24

a period of temporary economic decline

Answer 25

movement of individuals within or between classes

Answer 26

``` [] Willy Russell was born in 1947 into a working-class family near to Liverpool. He left school at 15 without academic qualifications and became a hairdresser. By the age of 20 he felt the need to return to education and, after leaving university, he became a teacher at a comprehensive school in his home city. [] During this time Russell wrote songs for performers and for radio shows. One of his early plays was about the Liverpool pop group The Beatles. He has a love of popular music and this can be seen in many of his plays, but especially in Blood Brothers. ```

Answer 27

[] Liverpool, because of its position on the River Mersey, was a prosperous seaport in the 19th century. [] There was a big gap between the rich and the poor. [] Liverpool is also famous for its football teams and impact on culture – the Mersey Beat (poetry), The Beatles (music) and playwrights, architects etc. [] Liverpudlians are known for their warmth, hospitality and wit. Mrs Johnstone’s typifies these qualities. [] In the late 1970s/early 1980s, Britain suffered an economic downturn and unemployment soared. This particularly affected industrialised working-class areas in the north of the country and Willy Russell would have seen this first hand in his home city. [] Liverpool’s famous docks, a traditional source of local employment, were allowed to run down and thousands of households fell into poverty; crime levels increased; housing was allowed to deteriorate and illegal drug use became more common. [] Some of this context is directly reflected in the play, for example, Russell shows the terrible effects of unemployment on Mickey's self-esteem.

Answer 28

[] Blood Brothers was completed in 1981, two years after the conservative party leader Margaret Thatcher became Prime Minister. [] She felt that the British manufacturing industry had become uncompetitive and saw the cause as weak employers and overly strong trades unions who were, she felt, too willing to call their members out on strike. [] She reduced the powers of the workers’ unions and privatised (‘sold off’) many publicly owned companies. She closed many uncompetitive coal mines, too. [] One of Thatcher’s central political beliefs was that success came to those who chose to work hard. [] In Blood Brothers, Russell contradicts this view. He shows a divided society by having Mickey and Edward attend very different schools and live in different houses. [] The fact that money and influential connections are necessary to become successful is written into the play. [] Mickey's failure, despite his good character and hard work, is the basis of the tragedy in the drama. This is, again, highlighted at the end of the play when Mickey says ‘I could have been him’.

Answer 29

1. unemployment 2. relationships 3. education (poverty & education/grammar schools/secondary modern schools) 4. housing/'new towns' ("bright new day")

Answer 30

[] Unemployment reached 25% in the 1980s. [] At the time the play is set, factories were closing down. [] At the start of act 2, Sammy is already on the dole, and the song Take a Letter Miss Jones illustrates how this rising unemployment adversely affects Mickey’s life and tempts him into crime. [] Being out of work creates low self–esteem; particularly for traditional men who feel they need to support their family.

Answer 31

[] During the 1950s and 60s, people strongly disapproved of sex before marriage and this is why Mrs Johnstone ‘has to’ marry quickly at the start of the play. [] Divorce was uncommon and this is another reason the neighbours might disapprove of her. [] We also see this repeated when Linda finds herself pregnant and marries Mickey.

Answer 32

[] Although the 1945 Education Act had made Grammar Schools free, working class children had to pass the 11+ to gain entry to the Grammar Schools. The pass mark was kept deliberately high. Few children were allowed the privilege of a grammar school education, and even if they gained a place, there was no guarantee that they would leave with qualifications, as the school leaving age was 15. [] Pupils at grammar schools studied academic subjects and took O Levels. Many then went on to take A Levels and some attended University. [] There were far fewer University places then, so most would go into employment after school.

Answer 33

[] Children who failed the 11+ would go to a Secondary Modern School to be prepared for life in the trades. [] Boys would study practical skills like bricklaying, alongside academic work, and girls would learn how to cook and sew. [] Many of these schools were under-funded. [] If pupils were not considered ‘bright’ they were not allowed to take CSEs. These qualifications were not worth as much as the O Levels taken at Grammar School. [] So it was common for children to leave school without any qualifications at all. It was more difficult for them to get on in life.

Answer 34

In the play, there is a clearly established link between poverty and under-achievement at school: [] Edward is sent to a private, fee-paying boarding school and will take O levels, A levels and go on to University. [] Mickey attends a secondary modern school. When he leaves, he goes into employment. [] Things go wrong when Mickey is made redundant (Take a Letter Miss Jones), whereas Edward has a much more secure ‘white collar’ job. [] Manual workers were called ‘blue collar’ workers; they were more affected by closure of factories and the scarcity of work connected with the docks.

Answer 35

Council Houses were the homes of most working class people in the 1950s and 1960s. The terraced houses had a lot to recommend them, but they were also cramped and lacked inside toilets and bathrooms. They did not have central heating and were heated mostly by coal fires. Their inner city locations were often dirty and there was nowhere for children to play as they rarely had gardens.

Answer 36

[] In Act 2, we see the Johnstone’s moved house by the government. They move to a house in a ‘New Town’. [] To improve standards of living, the government created the New Towns Act (1946) where they moved people away from the terraced houses into new council accommodation in the countryside. ‘New Towns’ were created like Welwyn Garden City and Skelmersdale, and existing places were developed, like Runcorn and Winsford.

Answer 37

[] Mrs Johnstone’s family is certainly helped by their move, although not as much as she had hoped. [] In many ways, it is already too late for the older children, and the unemployment situation was often worse away from the city. [] Also, many missed the people and the amenities that they had known before, and the support network that existed all but vanished. Uprooting people can cause stress and depression.

Answer 38

1. Marilyn Monroe | 2. pop culture

Answer 39

[] Marilyn Monroe was a very famous Hollywood actress. Her image was well known even to people who did not watch her films. She was presented by the media as a kind of ‘perfect’ fantasy woman and she was shown to live a glamorous and carefree lifestyle. The reality was often very different. She needed anti-depressants and eventually died from an overdose of pills. [] Russell uses references to Monroe throughout the play. At each point he refers to a different aspect of her life and public image. Mrs Johnstone enjoys the glamour of Monroe's public image. Later in the play Mickey becomes hooked on anti-depressant ‘nerve pills’ and this is compared to Monroe's own depression.

Answer 40

[] In the 1950s, society went through massive changes. As a result of young people gradually having more money, popular culture (music, TV and film) flourished, becoming accessible to a much wider public. [] Even the poorest in society, people represented in the play by the fictional Johnstone family, would have had the chance to go to the cinema or to a club for dancing. Think about the various ways characters in Blood Brothers are influenced by music, film and, especially, fantasy: [] Mr. Johnstone’s attitude toward his wife is based on her likeness to Marilyn Monroe. [] Mrs Johnstone's love of ‘dancing’ is a love of escape from her everyday life. [] The boys’ love of playful but ‘violent’ games, playing at cowboys and gangsters is influenced by films.

Answer 41

``` The time the play is set in The place the play is set in The social, cultural or historical context of the play The mood of the characters The desired atmosphere Foreshadow what will happen in the play ```

Answer 42

``` The Proscenium Arch The backdrop Entrances and exits Flooring Internal scenery flats External scenery flats Levels Set dressing- posters, furniture, objects etc. ```

Answer 43

A focussed beam of light to highlight one specific area of the stage

Answer 44

A light that illuminates a wide area of the stage

Answer 45

An adaptable light which size can be increased or decreased by focussing the beam or using barn doors

Answer 46

a Follow Spot

Answer 47

a strobe light

Answer 48

1. gel 2. gel frame 3. gobo 4. barn doors

Answer 49

A thin piece of coloured plastic that is placed in front of a lantern, making it project colour onto the stage

Answer 50

A metal frame that holds the gel in place in front of the lantern

Answer 51

four metal flaps that are placed around Fresnels that create straight edges

Answer 52

1. lighting direction (back light, side light, uplights) - lights can come from different areas of the stage in order to cast shadows on the stage 2. intensity - dimmer packs and control boards can be used to increase or decrease the intensity of the lights to create soft or harsh lighting effects 3. colour for symbolism - coloured gels can be used to symbolise emotions and themes to the audience 4. translucency - if a gauze is lit a certain way it can become translucent so that the audience is able to see through it to a scene behind

Answer 53

``` Colour Garments Period Material Context ```

Answer 54

What could the colour represent about the character’s personality, decisions, background, inner feelings and others perspective of them?

Answer 55

Think about more than one type of garment, waistcoats, belts, jewellery, shorts, cardigans, hats, scarfs etc

Answer 56

How does the costume reflect the era that the play is set in? Remember that the play is set over 20 years. How could you adapt the costume to show a change in time?

Answer 57

What could the choice and condition of material say about the character?

Answer 58

1. Locket 2. Bible 3. Bag of sweets 4. toy gun/real gun

Answer 59

the actor-audience relationship

Answer 60

- great for large scale productions - more intimate as actors are closer to the audience and surrounded by them - large items of set are able to be used upstage without interferring with 'sightlines' - most plays work well in this staging

Answer 61

[] Actors have to relate to 3 sides to get interaction. [] Lighting plot needs to be more complex. [] Entrances/Exits/Wings need to be thought out because of sightlines [] The stage floor is a vital part of the set design because of the audience seating. [] Scene changes have to be done in front of the audience.

Answer 62

[] Audiences are comfortable as this is the most familiar staging. [] Sense of ‘us’ and ‘them’ creates realism. [] Realistic sets easy to create – the 4th wall is removed the illusion of reality is created. [] Blocking is easier with entrances and exits. [] Technical effects are easier to achieve. [] Most types and scales of performance can be successful.

Answer 63

Difficult for an audience to become heavily involved. Realism can be hard to create as they have a fourth wall. Blocking needs to ensure it isn’t too linear in performance and no one has there back to the audience. Furniture needs to be placed with the audience in mind – good plot and spike during tech rehearsal. ‘Sightlines’. Blocking needs to be natural but ensuring that the audience can see all that is going on. Example of the family dinner table.

Answer 64

Audience – actor bond is strong and intimate because the actors are close to the audience. Impossible to have a realistic set in the round – enhances imagination watching. Audience has to create a sense of environment themselves. Naturalistic performance – as you’ll have your back to someone at some stage. Scene changes can happen as part of the performance – by cast or stage management in costume.

Answer 65

Similar to thrust issues but even more so! Unless you can raise the audience you will struggle with sightline problems. Realism can’t be used with this set. Harder restrictions for designers of set, lighting & sound. Restrictions on placing furniture and focus of lights. Blocking has to be highly accurate because of performing to 4 sides. Actors can be subtle – having audience all around.

Answer 66

Audience uses imagination due to set restrictions like ‘in the round’. Use doors/walls to create a corridor feel with interfering with sightlines. Simple form to create in a studio theatre. Good staging for small audiences. Scene changes have to be carried out in full view of the audience. Good for enabling use of movement – causing swift changes of location in a fast paced play.

Answer 67

Suitable only for a relatively small audience – although there are exceptions. Audience ideally needs to be raked in tiers like a catwalk – which can be hard to create. Using each extreme end of the stage can create problems for audience sightlines and can cause a Wimbledon effect for the audience which is wearing. During scene changes, blocking usually means one set of actors has to exit one end & the new cast/new scene comes on from the other end to start.

Answer 68

1. actor 2. choreographer 3. lighting designer 4. understudy 5. director 6. stage managers 7. set designer 8. playwright 9. sound designer 10. costume designer 11. lyricist

Answer 69

- learn the lines - use research/improvisation techniques to learn more about your character - develop appropriate characterisation according to the director's requirements

Answer 70

Block the scene Stop the action to direct characterisation Make decisions on design of your scene

Answer 71

Research costumes of the era Draw a detailed design for the costume of two characters from the scenes Annotate the semiotics of each piece of costume you design

Answer 72

Discuss the mood and atmosphere needed with the scene Draw a lighting plan labelled with the type of lights used Make a lighting cue sheet

Answer 73

Read the script and make notes on what sound might be needed to create atmosphere or show location Source music/ SFX Make a sound cue sheet

Answer 74

Make a list of props needed in the scene and when Make a list of costume changes needed and when Plan transitions of set and actors between scenes

Answer 75

Research the location and context of the scenes Create an adaptable stage design that can change for each scene Include elements of the context in your design

Answer 76

a theatre stage that slopes upwards, away from the audience, so it is raised at the back end

Answer 77

A flat (short for scenery flat) or coulisse is a flat piece of theatrical scenery which is painted and positioned on stage so as to give the appearance of buildings or other background.

Answer 78

In many stage productions, theatrical scenery is mounted to line sets in order to be flown in and out so as to quickly change set pieces during the course of a performance. The same system can be used to fly (hoist) quickly, quietly and safely components such as curtains, lights, scenery, stage effects and, sometimes, people. Components are typically flown out of view of the audience into the large opening known as the fly loft, above the stage.

Answer 79

for projections and lighting effects

Answer 80

a background device used to cover the back and sometimes the sides of the stage and used with special lighting to create the illusion of sky, open space, or great distance at the rear of the stage setting.

Answer 81

they can be painted or lit

Answer 82

A large wheeled platform which can be moved around the stage either manually by crew or by a scenic automation system.

Answer 83

any part of the stage that extends past the proscenium arch and into the audience or seating area.

Answer 84

Mrs Johnstone singing ‘Tell me it’s not true’ helps the audience empathise with the pain she feel having lost her sons.

Answer 85

Edward’s description of how Mickey should ask out Linda is unexpected and melodramatic.

Answer 86

The way the policeman treats Mrs Johnstone compared to Mr Lyons shows that the classes were treated differently

Answer 87

Mickey loses his job after the economic depression which was partly caused by decisions made by the government at the time

Answer 88

The song Marilyn Monroe has a catchy tune and involves a big dance sequence by the chorus

Answer 89

Mickey points the gun at Edward for a long time before shooting. Dramatic Irony is used as the audience knows they will both die.

Answer 90

1. musical theatre 2. comedy 3. tragedy

Answer 91

Protagonists sing to show the audience their inner thoughts and feelings Chorus are used for big song and dance numbers Orchestra plays in the pit in front of the stage Music underscores moments of tension and climax.

Answer 92

Play on words to make the audience laugh Physical comedy and melodrama Laughing at characters stupidity and unexpected comments

Answer 93

The audience knows right from the beginning that it will end badly for the protagonists Emotional and serious issues arise in the play The audience are made to feel the emotions of the characters through realistic acting

Answer 94

Mickey said it when he is looking for his pills after getting out of prison. [] it Shows he is depressed [] Links to Marilyn Monroe being on anti-depressants [] In comparison with Eddie he feels like he’s nothing

Answer 95

Mrs Lyons said it after Mickey knocks on the door asking for Edward: She doesn’t want him to find out her secret She doesn’t want him to behave like Mickey She has been reminded that she is not his real mother

Answer 96

Mrs Johnstone said it in her first scene working at Mrs Lyons house: She is superstitious Mrs Lyons knows she can be manipulated Foreshadows the impact of fate throughout the play

Answer 97

Edward said it when comes back from Uni and Mickey has lost his job: He doesn’t understand how hard life is without money He has had many opportunities unlike Mickey Shows the contrast in their upbringing

Answer 98

a proscenium arch

Answer 99

1. Directional position 2. Levels – includes use of set 3. Distance

Answer 100

a symbolic, composite set - symbolic, composite set allows you to change location and time period really quickly – can’t with a non-composite set - many different sets need to be shown in blood brothers. Composite set with realistic elements - houses are realistic,

Answer 101

the type of staging

Answer 102

1. Music and song (direct address through song, e.g. opening Marilyn Monroe) 2. Monologues (mickey’s monologue) 3. Narrator 4. Montage (summer song) 5. Tableaux/still images (end of summer song, Linda, Mickey + Eddie freeze while the narrator takes a photograph) 6. cross-cutting 7. multi-role-play

Answer 103

1. Language 2. Vocal qualities - voice 3. Physical aspects – physicality

Answer 104

Breaking text up into units of action + state intention for each unit

Answer 105

P - posture E- eye contact T - Tension ``` F - facial expression L - levels A - action G - gesture S - space ```

Answer 106

upright, slouched, dejected, large, confident, broad

Answer 107

lowered eyes, averting eye contact, fixed gaze, glare

Answer 108

1. tension in the shoulders 2. muscular tension 3. relaxed

Answer 109

aggressive, caring, warm, cold, loving

Answer 110

status, dominance or vulnerability

Answer 111

striding, gliding, marching, tiptoeing, skipping

Answer 112

Blood Brothers takes place over the course of the late 1950s to the late 1970s, when Liverpool was experiencing a rapid decline in its importance as an industrial port. This had a drastic effect on the population - particularly young working-class men who had few if any opportunities for employment when they left school. Russel creates a parallel between Liverpool's deterioration across this time period with that of Hollywood icon Marilyn Monroe, whose glamorous appearance and lifestyle disguised the anxiety, depression, and drug addiction that led to her suicide in 1962.

Answer 113

- the play was first performed in 1983, when Prime Minister Margaret Thatcher was four years into her plan to transform Britain into a modern service-based economy. This required deindustrialising Britain's traditional manufacturing base in the north of England and Wales. Whilst this created jobs and wealth in the south - particularly in and around London - nationally, unemployment had reached 3 million by 1983, and was as high as 20% in Liverpool - Russell's contemporary audience were watching the play at a time when the city was struggling desperately with all the symptoms of urban decay: escalating crime, violence and drug-use, and collapsing standards of education, health and welfare. The huge riots that shook Liverpool and other cities in 1981, which had been sparked by police treatment of the black community and fuelled by widespread anger at the deprivation caused by the government's policies, would have been very fresh in people's memories

Answer 114

sadly, a modern audience must also approach the play from the perspective of continued social inequality in Britain. The determined pursuit of austerity in the aftermath of the 2008 financial crash, and policies that have continued to favour wealthy people and large businesses since Thatcherism, have made Britain one of the most unequal places in the developed world, with the divide between rich and poor - and the south and north respectively - continuing to grow. As in the 1980s, crime, violence and racism are also on the increase as a result.

Answer 115

Think about the colour, material and condition of the costume and and how this might show the era, class, age, gender, occupation and personality traits of the character.

Answer 116

Mickey and Edward's childhood friend, Linda becomes the love interest for both boys before finally getting together with Mickey

Answer 117

her life echoes Mrs Johnstone's and Donna Marie's, representing the struggle of working-class women to escape the cycle of poverty: pregnant at 18, married soon after, and burdened by her responsibilities

Answer 118

1. "Linda moves to protect Mickey who is visible shacken" (A1) 2. "When you [Mickey] die, you'll meet your twinny again, won't y'?" (A1) 3. "I don't care who knows. I just love you [Mickey]. I love you!" (A1) 4. "I suppose I always...loved you [Edward]." (A2) 5. "when you take those things, Mickey, I can't even see you." (A2) 6. "An' what about what I need? I need you [Mickey]. I love you." (A2) 7. "She's washed a million dishes/she's always making tea" (A2)

Answer 119

at the start of the play, although he is mischievous and rebellious, he is presented as being inherently good: he is quick-witted, using his humour and intuition to relate to the world around him; he is trusting and open-minded, having a girl as his closest confidante before quickly befriending Edward, despite their differences; and he is caring and sensitive, his relationships being built on strong, emotional attachments. However, this kindly nature is warped by the callous nurturing of social inequality, leading him to crime, depression, and drug-addiction. Russel uses the contrast between Mickey and Edward to illustrate how social inequality can shape the lives of people.

Answer 120

- unlike Mickey, Edward's kind gestures and his open-mindedness seem to come more from a trained politeness, as well as his naivety and curiosity, than from any innate goodness - traits created by his strict and isolated middle-class upbringing. - similarly, although Edward develops Mickey's rebellious streak - getting into trouble with the police, and being suspended from school - he is insulated by his privileged upbringing, which still enables him to go to university and enter politics - this same privilege warps his innocent, care-free attitude into a selfish ignorance that distances him from the realities of Mickey's life, and leads him into an affair with Linda

Answer 121

- her superstitious beliefs arguably trigger the whole tragedy - at the start of the play, the narrator accuses her of being "cruel" and having a "stone in place of her heart" - fatefully connecting to her name - but this doesn't match her character, and blaming her would mean ignoring the sociocultural circumstances that created her superstitious beliefs, and which make her vulnerable to persuasion - Russel presents us with the same dilemma when we consider why she has so many children, or why she is susceptible to wasting the little money she does have. How much control has she really had over events in her life?

Answer 122

- Mrs Lyons abuses Mrs. Johnstone's trust and superstitious nature in order to become Edward's adoptive mother, then uses manipulation, lies, and her wealth to try and control the situation - as she gradually loses control, she begins to become superstitious "[sweep[ing] the shows off]" the table after Mr Lyons has placed them there, then calling Mrs Johnstone a "witch" and laying a "curse" on her as she descends into madness - although it is hard to sympathise with her character, it is social inequality that destroys her too: it conditions and enables her to believe that she has a right to anything, and that anything can be bought, corrupting her initially simple and pure desire for a child of her own.

Answer 123

- the narrator guides us through the play, connecting, explaining, and contextualising what we witness - he also asks the audience to make a judgement, directing Russell's key question to us at the end of the play: is superstition or class to blame? - this likens him to an Ancient Greek Chorus or a Medieval 'Vice' character: a dramatic device used to channel the playwright's message by mediating with the audience through personifying certain roles or perspectives throughout - the narrator fulfils many different societal roles throughout the play, suggesting that he represents the indifference of society at large to the struggles of the working class, and our complicity in their suffering - his repeated refrain "y'know the devil's got your number" and other references to the devil and fate bring judgement closer and closer (from "starin' through your windows" to "screamin' deep inside you"), intensifying the inevitability of the tragedy, and - taken alongside how he shapeshifts into a number of different roles - makes him seem like an emissary of the devil, or even the devil himself

Answer 124

- like mickey, when we first meet Sammy, the stage directions also call for him to be "[gun in hand]", and he is deeply involved in his violent "[fantasy]". This escalates seemingly inevitably as the play develops. - however, this introduction could equally suggest that he is imaginative, playful, and charismatic - the society that he grows up in simply doesn't give him any opportunities to channel these qualities positively

Answer 125

as a child he would keep pet worms and hold funerals for them when they die

Answer 126

1. "Sammy laughs at Edward's voice." (A1) 2. "I'm gunna get a real gun soon. I'm gunna get an air gun." (A1) 3. "He's a friggin' poshy." (A1) 4. "Fuck off (produces a knife) now move, you. Move! Give me the bag." (A2) 5. "we don't use shooters. They're just frighteners." (A2) 6. "Don't piss about with me pal. I said give." (A2) 7. "Y' don't get up again if one of these hits y'". (A2) 8. "Quick, get in the house an' bolt the fuckin' door." (A2)

Answer 127

- Mr Lyons' emotional distance echoes the physical absence of Mr Johnstone. He uses his work as an excuse, but this only lends a respectable veneer to his lack of compassion for and neglect of his wife and son, as well as concealing possible infidelities - this illustrates the hypocrisy of middle-class value - we don't actually know for certain what "The Company" is, highlighting the impersonal conceit of business, and its disdain for the working class - in the song "Miss Jones", the language in the redundancy letters echoes the condescending platitudes useed by society's gatekeepers: "regret to inform you"; "quite beyond out control"; "afraid"; "unfortunate"; "just another sign of the times"; "peculiar" - with the insincerity this reveals highlighted by "Etcetera blah blah blah".

Answer 128

1. "all women like to hold babies, don't they?" (A1) 2. "it's this depression thing that happens after a woman's had a...[baby]" (A1) 3. he makes the unlikely claim that he "has to go to work for an hour" (A1) 4. "if we complete this merger we will, I promise you, have more time." (A1) 5. "I've got a board meeting. I really must dash." (A1)

Answer 129

``` the numerous, anonymous archetypal figures that appear throughout the play (e.g. milkman, gynaecologist, bus conductor, policemen, judge, conductor, teachers, doctor, warder) represent people who all have varying degrees of control over the working class, using their power and influence to contain them and limit their chances of escaping poverty - knowingly or otherwise. Russell uses these characters to expose the realities of the ruthlessly competitive and individualist culture encouraged by Thatcherism. They exhibit a lack of compassion; use condescending, empty platitudes; and are deeply self-serving and hypocritical, discriminating in favour primarily of social class and money, but also the possibility of sex. It is significant that the narrator is scripted to perform many of these roles, and also frequently plays more of them in different productions. ```

Answer 130

the production notes that precede the play suggest that the stage should be kept simple with only "[semi-permanent]" areas being the "[exterior front door of the Johnstone house]" and the "[interior of the Lyons' comfortable home]", positioned on opposite sides of the stage. This uses proxemics to visually establish, and continually reinforce, the dynamic between the two families - and the classes they represent - making the centre of the stage a tense, contested zone. It is also interesting that Russell wants the Johnstone's inner world to remain hidden, whereas the Lyons family are made to seem eager to openly flaunt their privilege - it is "a palace". In the transition from Act One to Act Two, both families leave Liverpool. The Lyons family choose to move from the park to a house on a hill; the Johnstones are rehoused from their terrace to a new estate. For the Lyons family, the countryside represents an escape from the perceived negative influences of the working class, a pleasant but underwhelming distraction ("Oh, look, Edward...look at those trees and those cows"). For the Johnstones, the countryside represents an escape to a more positive, "new situation", where they can leave behind the "mess", "much an' the dirt an' the bloody trouble" of Liverpool, and enter a fantastical paradise characterised by cleanliness, space, and simple comforts that they have been denied this far. However, neither family can escape the class/fate nexus.

Answer 131

songs are part of the narrative, reinforcing key ideas, and also serving to fill in gaps or lapses in time. The recurring, continually evolving "Marilyn Monroe" is the clearest example of this as its allusion to the tragic Hollywood legend encourages the audience to develop a more profound understanding of the tragic world the characters inhabit. Russell also uses a number of duets to emphasise the differences and similarities between characters across the class divide.

Answer 132

Russell frequently uses incidental music and sound effects to suggest the ominous power of fate, reminding us of the impending tragedy. - a heartbeat "[grows in intensity]" as the two women make their pact, before it "[suddenly stops]" and is replaced by the crying of the twins - "[music is quietly introduced]" when Edward gives his farewell present - a toy gun - to Mickey, and when Mrs Lyons opens Edward's locket - a gift from Mrs Johnstone - in Act 2 - when Mickey discovers Edward and Linda's affair, the music "[abruptly segues]" from Mrs Johnstone's song, and "[pulsates and builds]" as Mickey retrieves Sammy's gun and Mrs Johnstone and Linda realise what is happening, only to "[abruptly]" stop as Mickey reaches Edward at the town hall

Answer 133

- as Mickey, Edward, Linda, and Sammy grow up across the course of the play, their lives change drastically and the gap between them widens - building on the idea that social inequality is like fate, the trajectory of their lives seems predetermined - whether that is Sammy turning from the hopelessness of the "dole" to a life of crime, or Edward progressing seemingly effortlessly through boarding school, university and politics

Answer 134

Marylin Monroe was arguably the most famous Hollywood actor of the 1950s and early 1960s, and an icon sex symbol. However, she suffered with anxiety and depression, becoming increasingly reliant on medication. She died in Los Angeles in August 1962 after an overdose. Monroe's decline and death mirror what happens to Mickey, and also the tragedy of the play as a whole. In Act One, Monroe represents an ironic hopeful fantasy Mrs. Johnstone clings to. In Act Two, Monroe's decline becomes an ominous sign: she prays Edward will "be OK/ Not like Marylin Monroe"; she says that "[Mickey] treats his ills with daily pills/ Just like Marylin Monroe". In Mrs. Johnstone's final song, she wishes that the tragedy could be "just a dream [...] just a scene" from an "old movie of Marylin Monroe" performed by "some clowns / Two players in the limelight". This metatheatrical disruption seems intended to encourage us to consider the painful reality of social inequality: this may have been a story but, as with the life of Monroe, such illusions should not conceal real suffering.

Answer 135

a period of temporary economic decline

Answer 136

movement of individuals within or between classes

Answer 137

``` [] Willy Russell was born in 1947 into a working-class family near to Liverpool. He left school at 15 without academic qualifications and became a hairdresser. By the age of 20 he felt the need to return to education and, after leaving university, he became a teacher at a comprehensive school in his home city. [] During this time Russell wrote songs for performers and for radio shows. One of his early plays was about the Liverpool pop group The Beatles. He has a love of popular music and this can be seen in many of his plays, but especially in Blood Brothers. ```

Answer 138

[] Liverpool, because of its position on the River Mersey, was a prosperous seaport in the 19th century. [] There was a big gap between the rich and the poor. [] Liverpool is also famous for its football teams and impact on culture – the Mersey Beat (poetry), The Beatles (music) and playwrights, architects etc. [] Liverpudlians are known for their warmth, hospitality and wit. Mrs Johnstone’s typifies these qualities. [] In the late 1970s/early 1980s, Britain suffered an economic downturn and unemployment soared. This particularly affected industrialised working-class areas in the north of the country and Willy Russell would have seen this first hand in his home city. [] Liverpool’s famous docks, a traditional source of local employment, were allowed to run down and thousands of households fell into poverty; crime levels increased; housing was allowed to deteriorate and illegal drug use became more common. [] Some of this context is directly reflected in the play, for example, Russell shows the terrible effects of unemployment on Mickey's self-esteem.

Answer 139

1. unemployment 2. relationships 3. education (poverty & education/grammar schools/secondary modern schools) 4. housing/'new towns' ("bright new day")

Answer 140

[] Unemployment reached 25% in the 1980s. [] At the time the play is set, factories were closing down. [] At the start of act 2, Sammy is already on the dole, and the song Take a Letter Miss Jones illustrates how this rising unemployment adversely affects Mickey’s life and tempts him into crime. [] Being out of work creates low self–esteem; particularly for traditional men who feel they need to support their family.

Answer 141

[] During the 1950s and 60s, people strongly disapproved of sex before marriage and this is why Mrs Johnstone ‘has to’ marry quickly at the start of the play. [] Divorce was uncommon and this is another reason the neighbours might disapprove of her. [] We also see this repeated when Linda finds herself pregnant and marries Mickey.

Answer 142

[] Although the 1945 Education Act had made Grammar Schools free, working class children had to pass the 11+ to gain entry to the Grammar Schools. The pass mark was kept deliberately high. Few children were allowed the privilege of a grammar school education, and even if they gained a place, there was no guarantee that they would leave with qualifications, as the school leaving age was 15. [] Pupils at grammar schools studied academic subjects and took O Levels. Many then went on to take A Levels and some attended University. [] There were far fewer University places then, so most would go into employment after school.

Answer 143

[] Children who failed the 11+ would go to a Secondary Modern School to be prepared for life in the trades. [] Boys would study practical skills like bricklaying, alongside academic work, and girls would learn how to cook and sew. [] Many of these schools were under-funded. [] If pupils were not considered ‘bright’ they were not allowed to take CSEs. These qualifications were not worth as much as the O Levels taken at Grammar School. [] So it was common for children to leave school without any qualifications at all. It was more difficult for them to get on in life.

Answer 144

In the play, there is a clearly established link between poverty and under-achievement at school: [] Edward is sent to a private, fee-paying boarding school and will take O levels, A levels and go on to University. [] Mickey attends a secondary modern school. When he leaves, he goes into employment. [] Things go wrong when Mickey is made redundant (Take a Letter Miss Jones), whereas Edward has a much more secure ‘white collar’ job. [] Manual workers were called ‘blue collar’ workers; they were more affected by closure of factories and the scarcity of work connected with the docks.

Answer 145

Council Houses were the homes of most working class people in the 1950s and 1960s. The terraced houses had a lot to recommend them, but they were also cramped and lacked inside toilets and bathrooms. They did not have central heating and were heated mostly by coal fires. Their inner city locations were often dirty and there was nowhere for children to play as they rarely had gardens.

Answer 146

[] In Act 2, we see the Johnstone’s moved house by the government. They move to a house in a ‘New Town’. [] To improve standards of living, the government created the New Towns Act (1946) where they moved people away from the terraced houses into new council accommodation in the countryside. ‘New Towns’ were created like Welwyn Garden City and Skelmersdale, and existing places were developed, like Runcorn and Winsford.

Answer 147

[] Mrs Johnstone’s family is certainly helped by their move, although not as much as she had hoped. [] In many ways, it is already too late for the older children, and the unemployment situation was often worse away from the city. [] Also, many missed the people and the amenities that they had known before, and the support network that existed all but vanished. Uprooting people can cause stress and depression.

Answer 148

1. Marilyn Monroe | 2. pop culture

Answer 149

[] Marilyn Monroe was a very famous Hollywood actress. Her image was well known even to people who did not watch her films. She was presented by the media as a kind of ‘perfect’ fantasy woman and she was shown to live a glamorous and carefree lifestyle. The reality was often very different. She needed anti-depressants and eventually died from an overdose of pills. [] Russell uses references to Monroe throughout the play. At each point he refers to a different aspect of her life and public image. Mrs Johnstone enjoys the glamour of Monroe's public image. Later in the play Mickey becomes hooked on anti-depressant ‘nerve pills’ and this is compared to Monroe's own depression.

Answer 150

[] In the 1950s, society went through massive changes. As a result of young people gradually having more money, popular culture (music, TV and film) flourished, becoming accessible to a much wider public. [] Even the poorest in society, people represented in the play by the fictional Johnstone family, would have had the chance to go to the cinema or to a club for dancing. Think about the various ways characters in Blood Brothers are influenced by music, film and, especially, fantasy: [] Mr. Johnstone’s attitude toward his wife is based on her likeness to Marilyn Monroe. [] Mrs Johnstone's love of ‘dancing’ is a love of escape from her everyday life. [] The boys’ love of playful but ‘violent’ games, playing at cowboys and gangsters is influenced by films.

Answer 151

``` The time the play is set in The place the play is set in The social, cultural or historical context of the play The mood of the characters The desired atmosphere Foreshadow what will happen in the play ```

Answer 152

``` The Proscenium Arch The backdrop Entrances and exits Flooring Internal scenery flats External scenery flats Levels Set dressing- posters, furniture, objects etc. ```

Answer 153

A focussed beam of light to highlight one specific area of the stage

Answer 154

A light that illuminates a wide area of the stage

Answer 155

An adaptable light which size can be increased or decreased by focussing the beam or using barn doors

Answer 156

a Follow Spot

Answer 157

a strobe light

Answer 158

1. gel 2. gel frame 3. gobo 4. barn doors

Answer 159

A thin piece of coloured plastic that is placed in front of a lantern, making it project colour onto the stage

Answer 160

A metal frame that holds the gel in place in front of the lantern

Answer 161

four metal flaps that are placed around Fresnels that create straight edges

Answer 162

1. lighting direction (back light, side light, uplights) - lights can come from different areas of the stage in order to cast shadows on the stage 2. intensity - dimmer packs and control boards can be used to increase or decrease the intensity of the lights to create soft or harsh lighting effects 3. colour for symbolism - coloured gels can be used to symbolise emotions and themes to the audience 4. translucency - if a gauze is lit a certain way it can become translucent so that the audience is able to see through it to a scene behind

Answer 163

``` Colour Garments Period Material Context ```

Answer 164

What could the colour represent about the character’s personality, decisions, background, inner feelings and others perspective of them?

Answer 165

Think about more than one type of garment, waistcoats, belts, jewellery, shorts, cardigans, hats, scarfs etc

Answer 166

How does the costume reflect the era that the play is set in? Remember that the play is set over 20 years. How could you adapt the costume to show a change in time?

Answer 167

What could the choice and condition of material say about the character?

Answer 168

1. Locket 2. Bible 3. Bag of sweets 4. toy gun/real gun

Answer 169

the actor-audience relationship

Answer 170

- great for large scale productions - more intimate as actors are closer to the audience and surrounded by them - large items of set are able to be used upstage without interferring with 'sightlines' - most plays work well in this staging

Answer 171

[] Actors have to relate to 3 sides to get interaction. [] Lighting plot needs to be more complex. [] Entrances/Exits/Wings need to be thought out because of sightlines [] The stage floor is a vital part of the set design because of the audience seating. [] Scene changes have to be done in front of the audience.

Answer 172

[] Audiences are comfortable as this is the most familiar staging. [] Sense of ‘us’ and ‘them’ creates realism. [] Realistic sets easy to create – the 4th wall is removed the illusion of reality is created. [] Blocking is easier with entrances and exits. [] Technical effects are easier to achieve. [] Most types and scales of performance can be successful.

Answer 173

Difficult for an audience to become heavily involved. Realism can be hard to create as they have a fourth wall. Blocking needs to ensure it isn’t too linear in performance and no one has there back to the audience. Furniture needs to be placed with the audience in mind – good plot and spike during tech rehearsal. ‘Sightlines’. Blocking needs to be natural but ensuring that the audience can see all that is going on. Example of the family dinner table.

Answer 174

1. actor 2. choreographer 3. lighting designer 4. understudy 5. director 6. stage managers 7. set designer 8. playwright 9. sound designer 10. costume designer 11. lyricist

Answer 175

- learn the lines - use research/improvisation techniques to learn more about your character - develop appropriate characterisation according to the director's requirements

Answer 176

Block the scene Stop the action to direct characterisation Make decisions on design of your scene

Answer 177

Research costumes of the era Draw a detailed design for the costume of two characters from the scenes Annotate the semiotics of each piece of costume you design

Answer 178

Discuss the mood and atmosphere needed with the scene Draw a lighting plan labelled with the type of lights used Make a lighting cue sheet

Answer 179

Read the script and make notes on what sound might be needed to create atmosphere or show location Source music/ SFX Make a sound cue sheet

Answer 180

Make a list of props needed in the scene and when Make a list of costume changes needed and when Plan transitions of set and actors between scenes

Answer 181

Research the location and context of the scenes Create an adaptable stage design that can change for each scene Include elements of the context in your design

Answer 182

a theatre stage that slopes upwards, away from the audience, so it is raised at the back end

Answer 183

A flat (short for scenery flat) or coulisse is a flat piece of theatrical scenery which is painted and positioned on stage so as to give the appearance of buildings or other background.

Answer 184

In many stage productions, theatrical scenery is mounted to line sets in order to be flown in and out so as to quickly change set pieces during the course of a performance. The same system can be used to fly (hoist) quickly, quietly and safely components such as curtains, lights, scenery, stage effects and, sometimes, people. Components are typically flown out of view of the audience into the large opening known as the fly loft, above the stage.

Answer 185

for projections and lighting effects

Answer 186

a background device used to cover the back and sometimes the sides of the stage and used with special lighting to create the illusion of sky, open space, or great distance at the rear of the stage setting.

Answer 187

they can be painted or lit

Answer 188

A large wheeled platform which can be moved around the stage either manually by crew or by a scenic automation system.

Answer 189

any part of the stage that extends past the proscenium arch and into the audience or seating area.

Answer 190

Mickey said it when he is looking for his pills after getting out of prison. [] it Shows he is depressed [] Links to Marilyn Monroe being on anti-depressants [] In comparison with Eddie he feels like he’s nothing

Answer 191

Mrs Lyons said it after Mickey knocks on the door asking for Edward: She doesn’t want him to find out her secret She doesn’t want him to behave like Mickey She has been reminded that she is not his real mother

Answer 192

Mrs Johnstone said it in her first scene working at Mrs Lyons house: She is superstitious Mrs Lyons knows she can be manipulated Foreshadows the impact of fate throughout the play

Answer 193

Edward said it when comes back from Uni and Mickey has lost his job: He doesn’t understand how hard life is without money He has had many opportunities unlike Mickey Shows the contrast in their upbringing