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When I receive the charge on it. BEATRICE-JOANNA This is much methinks. Belike his wants are greedy and to such Gold tastes like angels' food. Rise. DEFLORES I'll have the work first. BEATRICE-JOANNA Possible his need Is strong upon him. There's to encourage thee. As thou art forward and thy service dangerous Thy reward shall be precious. DEFLORES That I have thought on. I have assured myself of that beforehand And know it will be precious. The thought ravishes. BEATRICE-JOANNA Then take him to thy fury. DEFLORES BEATRICE-JOANNA Alonzo de Piracquo. I thirst for him. DEFLORES His end's upon him. He shall be seen no more. BEATRICE-JOANNA How lovely now Dost thou appear to me. Never was man Dearlier rewarded. Exercise 2: • Imagine you are a director, write an outline of a plan for a first day of rehearsal for The Changeling. Share your opening director’s introduction with the group. 14
INTERVIEW WITH MARK BOUMAN Costume Designer Stephen (Unwin) was talking about modernizing or bringing the costumes up to date. How have you done that? Our intention wasn’t necessarily to bring them up to date but to have a contemporary element. So that when you first look at them, the audience has got a feeling that it’s a period play, but when you look closer, just as the script has some quite modern bits in it, so the costume has too… so doublets have contemporary biker jacket zips or have seams, and details that you’d find on contemporary clothes as opposed to what you’d find on real period costumes… so we’re morphing a bit of a period costume with contemporary and making that a new language. How does that fit in with the Victorian madhouse set design? Well it’s more like a crumbling mansion… that could be an ancient period castle, but again if you look closer it’s got the odd radiator or an exit sign or some modern metal doors… so on first look, you think you’re in a period world but on closer inspection, as you’re watching the play you realise there are some much more modern bits there… same as with the story, it’s a sort of posh lady that gets told to marry, but she’s like “actually I don’t want to do this… I want to do something for myself”. How have you expressed these psychologically real and developed female characters in their costume? Instead of being an add-on or a background character, they are very much in the foreground, so opposed to having pretty Jacobean colours that are quite muted, we’re putting Beatrice-Joanna in a shocking fuschia pink with black lace …and then other colours, like her servant Diaphanta who instead of wearing a skirt, like most women up to the 1920’s would have worn a skirt, she’s actually in trousers but a modern version of a period doublet on her top half. Tell us more about Diaphanta’s costume? With her it’s more a case of contemporary fabrics. Her colours are more muted because she is a servant woman, a bit more working class, but I’ve added some African influences because of who the actress Samantha is, and then Isabella is in a shocking orange, which again you’d never find if you look at period paintings. Costume designs by Mark Bouman and examples of ideas which have influenced his designs for DIAPHANTA and BEATRICE-JOANNA 15
Page 1 and 2: 25 Short Street London SE1 8LJ T: 0
Page 3 and 4: CREATIVE POLICY ETT is England’s
Page 5 and 6: STEPHEN UNWIN ON THE CHANGELING The
Page 7 and 8: THOMAS MIDDLETON (1580-1627) Middle
Page 9 and 10: JACOBEAN DRAMA The term ‘Jacobean
Page 11 and 12: MADNESS AND SANITY IN THE 17 TH CEN
Page 13: [ACT 2 SCENE 2] BEATRICE-JOANNA ...
Page 17 and 18: INTERVIEW WITH PAUL WILLS Set Desig
Page 19 and 20: INTERVIEW WITH TIMANDRA DYER Produc
Page 21 and 22: The Role of Women Questions: • Do
Page 23 and 24: ASSISTANT DIRECTOR’S ESSAY by Sub
Page 25 and 26: enough, she doesn’t blush, whatev
Page 27 and 28: Terrence But it’s the unmarried o
Page 29 and 30: PLACING THE TEXT IN CONTEMPORARY LA
Page 31 and 32: 2. WRITING EXERCISE In pairs, spend
Page 33: FURTHER READING The Changeling, by

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