Читать книгу The Mammary Plays - Paula Vogel - Страница 11

PRODUCTION NOTES

I urge directors to use the Greek Chorus in staging as environment and, well, part of the family—with the exception of the Teenage Greek Chorus member who, after the last time she appears onstage, should perhaps disappear.

As For Music: Please have fun. I wrote sections of the play listening to music like Roy Orbison’s “Dream Baby” and The Mamas and the Papa’s “Dedicated to the One I Love.” The vaudeville sections go well to the Tijuana Brass or any music that sounds like a Laugh-In soundtrack. Other sixties music is rife with pedophilish (?) reference: the “You’re Sixteen” genre hits; The Beach Boys’ “Little Surfer Girl”; Gary Puckett and the Union Gap’s “This Girl Is a Woman Now”; “Come Back When You Grow Up,” etc.

And whenever possible, please feel free to punctuate the action with traffic signs: “No Passing,” “Slow Children,” “Dangerous Curves,” “One Way,” and the visual signs for children, deer crossings, hills, school buses, etc. (See Notes on the New York Production.)

This script uses the notion of slides and projections, which were not used in the New York production of the play.

On Titles: Throughout the script there are bold-faced titles. In production these should be spoken in a neutral voice (the type of voice that driver education films employ). In the New York production these titles were assigned to various members of the Greek Chorus and were done live.