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CHESS
THE PERFORMANCE |
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The basic set design consists of a number of large black gauze screens, which can be changed to white as and when required. Some of these can move across the stage in either direction, and others can be flown in or out. The screens are used to create the various locations during the show, while at the same time hiding the removal of chairs, tables etc. They can be lit from behind so you can see what is happening behind them, or lit from the front so that the upstage area is not visible. It is also possible to hang things such as paintings, posters, curtains etc from them to assist with the creation of locations. The stage floor would be made up of a large marble effect chessboard; it is not under-lit and does not move in any way. |
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ACT ONE
As the house lights fade, the sounds of a busy Bangkok street begin to filter through the darkness. At first the sounds are low and distant � a few cars passing by, people talking and laughing. The �listener� begins to move. Other sounds are introduced � a tuk-tuk, some one shouting the price of a bargain, more laughing, more talking. The sounds continue, but they grow louder and fainter as the listener moves towards and away from them. Snatches of music are heard as the listener passes by the doors of various nightclubs and bars. Instrumental versions of certain songs from the show may be used here � a bit like an overture and would be the same as the songs used in the reprise at the end of the show. The sounds become even more numerous and louder, to the point where nothing is decipherable � it becomes noise. During the latter half of this the faint sound of an orchestra tuning-up becomes audible. It too builds gradually, mingling with the street noise. Eventually the street sounds and the orchestral discordance recede and the auditorium is filled with the vibrancy and power of the Bangkok intro. |
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During Golden Bangkok, with the help of the gauze screens, various sections of the stage are used to depict glimpses of Bangkok city-life. The first image we see is that of two Thai warriors dressed in golden uniforms. They are positioned behind screens down stage left and right and as red lights slowly begin to fade up on them they begin to enact the movements of battle. They continue to fight with each other during an extended drum intro, but they freeze when the music begins and become statues at the entrance to the Oriental hotel. At this point the lights slowly fade up on the centre stage area, showing two porters standing in front of two screens � the hotel doors. As the music continues we see various people arriving at the hotel, including the Arbiter. The doors (screens) slide open to let them in and remain open as we �enter� the foyer of the hotel. Outside there is a sense of urgency, a few photographers are seen running up to the hotel and taking photographs of the people arriving. These people are members of the American and Russian delegations and rumour has it that the American champion Freddie Trumper will also be arriving tonight. Much to their surprise Anatoly Sergievsky (the Russian champion) and his second Alexander Molokov arrive too. The reporters bombard Anatoly with questions and take numerous photographs. Then Freddie Trumper arrives along with his second and lover Florence Vassy and Walter De Courcey Freddie�s publicity manager. The press instantly loses interest in the Russian and all their attention and questions are directed at the Americans. Freddie refuses to answer any questions and when it�s suggested that he shake hands with Anatoly, he waits for Anatoly to offer him his hand and then storms off, refusing to touch a red! |
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BACK TO FOYER |
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NEXT SCENE |
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