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Intimate Apparel/Fabulation
Lynn Nottage
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Intimate Apparel/Fabulation
Lynn Nottage
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*'Intimate Apparel' will be the most produced for the 2005-06 season with 16 productions nationally including San Diego (March), Atlanta (April), Coral Gables (March), Little Rock (April), Indianapolis (Jan), Louisville (Jan); Lowell, MA (Feb); Minneapolis (Sept), Syracuse (Feb), Cleveland (Feb), Ashland (April), Philadelphia (March), Memphis (April), Norfolk (Jan), Milwaukee (Feb) *Author on the cover of American Theatre Magazine
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Informations
Sujet
LiteratureSous-sujet
American DramaINTIMATE APPAREL
dp n="12" folio="" ?dp n="13" folio="" ?PRODUCTION HISTORY
Intimate Apparel was commissioned and first produced by South Coast Repertory (David Emmes, Producing Artistic Director; Martin Benson, Artistic Director; Paula Tomei, Managing Director) in Costa Mesa, California and CENTERSTAGE (Irene Lewis, Artistic Director; Michael Ross, Managing Director) in Baltimore, Maryland opening on April 18, 2003. It was directed by Kate Whoriskey; the set design was by Walt Spangler, the costume design was by Catherine Zuber, the lighting design was by Scott Zielinski, the sound design was by Lindsay Jones, the original music was by Reginald Robinson; the arranger and piano coach was William Foster McDaniel; the dramaturg was Jerry Patch and the stage manager was Randall K. Lum. The cast was as follows:
ESTHER | Shané Williams |
MRS. DICKSON | Brenda Pressley |
MRS. VAN BUREN | Sue Cremin |
MR. MARKS | Steven Goldstein |
MAYME | Erica Gimpel |
GEORGE | Kevin Jackson |
Intimate Apparel was originally produced in New York City by the Roundabout Theatre Company (Todd Haimes, Artistic Director; Ellen Richard, Managing Director), opening on April 8, 2004. It was directed by Daniel Sullivan; the set design was by Derek McLane, the costume design was by Catherine Zuber, the lighting design was by Allen Lee Hughes, the sound design was by Marc Gwinn. Original music was by Harold Wheeler and the stage manager was Amy Patricia Stern. The cast was as follows:
dp n="15" folio="" ?ESTHER | Viola Davis |
MRS. DICKSON | Lynda GrĂĄvatt |
MRS. VAN BUREN | Arija Bareikis |
MR. MARKS | Corey Stoll |
MAYME | Lauren Velez |
GEORGE | Russell Hornsby |
CHARACTERS
ESTHER, African American, thirty-five
MRS. DICKSON, African American, fifties
MRS. VAN BUREN, white, American, thirties
MR. MARKS, Romanian Orthodox Jewish immigrant, thirties
MAYME, African American, thirty
GEORGE, Barbadian immigrant, thirties
TIME
1905
PLACE
Lower Manhattan
PRODUCTION NOTE
The set should be spare to allow for fluid movement between the var- ious bedrooms. The action should flow seamlessly from scene to scene. The act endings mark the only true blackouts in the play.
dp n="16" folio="" ?dp n="17" folio="" ? ACT ONE
SCENE I
Wedding Corset: White Satin with Pink Roses
Lower Manhattan, 1905. A bedroom. It is simple, unadorned with the exception of beautifully embroidered curtains and a colorful, crazy quilt. A clumsy ragtime melody bleeds in from the parlor. In the distance the sound of laughter and general merriment. Esther, a rather plain thirty-five-year-old African American woman, sits at a sewing machine table, diligently trimming a camisole with lace. She is all focus and determination.
(Mrs. Dickson, a handsome, impeccably groomed African American woman of fifty, enters laughing.)
There you are. Mr. Charles was admiring the bread pudding and I told him that our Esther made it. It seems he has a sweet tooth.
ESTHER: Mr. Charles is overly generous, comeâthe pudding ainât nothing special.
dp n="18" folio="8" ?MRS. DICKSON: And did I mention that our most available Mr. Charles was promoted to head bellman at just about the finest hotel in New York? Yes.
ESTHER: But he still fetching luggage.
MRS. DICKSON: Not just any luggage, high-class luggage.
ESTHER: And is high-class luggage easier to carry?
MRS. DICKSON: I reckon it is easier to haul silk than cotton, if you know what Iâm saying. (Laughs) And he sporting a right smart suit this evening.
ESTHER: Yes, it cashmere.
MRS. DICKSON: You can tell more about a man by where he shops, than his practiced conversation. âCause any man whoâs had enough tonic can talk smooth, but not every man has the good sense to shop atâ
ESTHER AND MRS. DICKSON: Sapersteinâs.
(Esther laughs. Mrs. Dickson examines the embroidery on the camisole.)
MRS. DICKSON: Lovely.
ESTHER: Itâs for Corinna Maeâs wedding night.
MRS. DICKSON: Donât tell me youâve been in here all evening? Corinna Mae is getting ready to leave with her fiance.
ESTHER: I wish I could find my party face. It really is a lovely affair. You done a fine job.
MRS. DICKSON: Come now, it ainât over yet. Put aside your sewing and straighten yourself up. There. Youâll have a dance before this eveningâs out.
ESTHER: Please, Mrs. Dickson, I canât, really Iâll just stand there like a wallflower.
MRS. DICKSON: Nonsense, Iâve danced a half a dozen times, and my feet are just about worn out.
ESTHER: If I had your good looks Iâd raise a bit of dust myself. Ainât nobody down there interested in me.
MRS. DICKSON: Esther, youâre being silly. Youâve been moping around here for days. Whatâs the matter?
ESTHER: If you must know, I turned thirty-five Thursday past.
(A moment.)
MRS. DICKSON: Oh Lord, I forgot, child. I sure did. Look at that. With Corinna Mae carrying on and all these people, it slipped my mind. Happy birthday, my sweet Esther. (Gives Esther a big hug)
ESTHER: Itâs fine. You had all this to prepare for. And I been living in this rooming house for so long, I reckon Iâm just another piece of furniture.
MRS. DICKSON: Never. You were a godsend when you come to me at seventeen. Yes. I remember thinking how sweet and young you was with a sack full of overripe fruit, smelling like a Carolina orchard.
ESTHER: And now? Twenty-two girls later, if you count Lerleen. Thatâs how many of these parties I have had to go to and play merry. I should be happy for them, I know, but each time I think, Why ainât it me? Silly Corinna Mae, ainât got no brain at all, and just as plain as flour.
MRS. DICKSON: Your time will come, child.
ESTHER: What if it donât? Listen to her laughing. God forgive me, but I hate her laughter, I hate her happiness. And I feel simply awful for saying so. And Iâm afraid if I go back in there, sheâll see it all over my faceâand itâs her day.
MRS. DICKSON: There are a number of young men open to your smile. A sour face donât buy nothing but contempt. Why our Mr. Charles has had three servings of your bread pudding.
ESTHER: And he shouldnât have had any. (Laughs) He weighs nearly as much as your horse.
MRS. DICKSON: Nonsense. He weighs more than poor Jessup. Shhh. He is a good man, poised for success. Yes.
ESTHER: But heâs been coming to these parties for near two years and if he ainât met a woman, Iâd bet it ainât a woman he after. Iâve been warned about men in refined suits. But still, Esther would be lucky for his attention, thatâs what you thinking. Well, I ainât giving up so easy.
MRS. DICKSON: Good for you. But there are many a cautionary tale bred of overconfidence. When I met the late Mr. Dickson he was near sixty and I forgave his infatuation with the opiates, for he come with this rooming house and look how many good years itâs given me. Sure I cussed that damn pipe, and I cussed him for making me a widow, but sometimes we get to a point where we canât be so particular.
ESTHER (Snaps): Well, I ainât going down there to be paraded like some featherless bird.
(A moment.)
Iâm sorry, would you kindly take this down to Corinna Mae?
MRS. DICKSON: Iâll do no such thing. You can bring it down yourself. (Starts for the door, then abruptly stops) It tough, Esther, for a colored woman in this city. I ainât got to tell you that. You nimble with your fingers, but all Corinna Mae got be her honey-colored skin. And you good and smart and deserve all the attention in that room, but todayâs her day and all I ask is that you come toast her as I know sheâd toast you. Put aside your feelingsâ...