STRANGERS IN THE NIGHT
Dance-drama, based on the paintings of
JACK VETTRIANO
Devised and Written by
MIKE HEALEY
© Copyright Mike Healey 2013
NB This is an incomplete first draft
Introduction
Jack Vettriano is Britain‘s best known, contemporary artist. His paintings are highly sought by collectors and his print sales (and other commercial products, including three million posters and cards) are extensive. The Singing Butler - an early, iconic work - recently re-sold for £740,000, becoming the most expensive British painting in decades. Only Lucian Freud can exceed these figures yet Vettriano has yet to find acceptance within the British art establishment - a rejection that he treats with characteristic scorn.

Some critics see his work as soft-porn or, at best, nostalgic pastiche. Others see these genre paintings as works of quality. Since his gallery says that the majority of his fans are women, complaints of soft porn or misogyny raise interesting questions as to how his real audience perceive his work. What is undeniable is his popularity and selling power.

The Party’s Over
Vettriano’s world is that of the late 1950’s/early 1960’s - captured with photo-realistic exactitude on canvas. This is the world of Christine Keeler, Mandy Rice-Davies, Stephen Ward, Soho gangsters and dodgy entrepreneurs - like the property racketeer Peter Rachman. It is also the world of every lonely woman, abused and exploited by cruel, dominant men.
His locations are often the dark, seedy bars and hotels where strangers in the night meet secretly, make love and separate. His subjects are prostitutes, pimps, lovers and the lonely - especially women. There are some moments of vibrant colour where pretty girls flash their legs on sunny beeches but even here the images are full of subtle menace and sex hangs in the air like heavy perfume.

Mr Cool
Music dominates. Sometimes it is a tango or a waltz danced on an empty moonlit beech - or the sounds of jazz in a smoky bar where men and women gather. Indeed, many of the titles of Vettriano’s paintings are the titles of music that he likes, some of which have clearly inspired the paintings themselves.
The music used in this dance drama is, therefore, mostly those classic tracks he has himself used - the exception being instrumental tracks by Miles Davis used to underscore transitional scenes or mood changes. The lyrics of the main tracks partially define the narrative of the three key characters.
Strangers in the Night
Strangers in the Night is, above all, dance-drama. Although movement is partly based on the dance styles of the period, the choreography will have a contemporary ‘colour’ or interpretation. Sometimes it will parody period dance styles; sometimes it will use these forms to create its own unique style. Although the text that follows may appear prescriptive in narrative terms, choreographers are free to interpret the music in many ways, both in terms of dramatic structure and character.
Selected paintings by Vettriano are projected throughout the production onto large screens within the (minimal) set and provide the visual clues and settings appropriate to the choreographed action onstage. Sometimes the action on stage will exactly replicate the screen images; sometimes the dance actuality will run counter to these changing images.
Narrative Structure
The narrative has three, interwoven strands.
The first is the story of Christine - the sultry brunette that features in many of Vettriano’s genre paintings.

Dressed to Kill
Christine is suave, sophisticated and apparently rich and yet, like most of the women Vettriano depicts, painfully vulnerable and very lonely. She moves on the margins of that corrupt London society serviced by the procurers of call girls - like Stephen Ward. In our story Ward’s role is played by a more sinister character - Predatory Man. This world is rich, often aristocratic, metropolitan and thoroughly corrupt and one which Christine Keeler and Mandy Rice-Davis themselves exploited with consummate ease, culminating in the John Profumo scandal of 1962.
In our story Christine is slowly, ineluctably drawn into that world, seduced at first by the power and dominance that sex can bring. Her subsequent struggle against this downward spiral and her desire to find something better for herself provides the dramatic trajectory of her story.
The second narrative strand centres on Rose.

Dancer for Money?
Rose is a professional dancer and sometime actress. She comes from a comfortable, middle-class family but has fallen on hard times. She now dances in a sleazy Soho club - as a lap-dancer and cabaret performer. She has had a series of disastrous affairs and is inexorably sliding into prostitution, just to survive.
Rose is a classically trained dancer and ballet represents for her both a happy childhood and legitimacy as a dancer. When depressed or just lonely she lapses into ‘classical’ ballet, longing for the securities of her happy teenage years. She wants, above all, to find a decent man, get married and have children.
The third narrative strand centres on Mandy.
Mandy is a successful call-girl and part of that relatively smart inner set frequented by men like the infamous property racketeer, Peter Rachman (with whom she has an affair), the Kray twins, minor aristocrats and other dubious hangers-on and assorted thugs.
Mandy patently enjoys her job as a call-girl and yet her relationships with men remain strictly commercial. She too longs for love but is too materialistic to allow herself to fall for anyone, especially any of her regular clients - even if they could provide the financial security she seeks.
She has found some emotional comfort with other women but is perhaps too selfish to enter into any meaningful lesbian relationship.

Her story is one in which she eventually falls out of favour with one of her rich, powerful clients and in turn becomes the victim of a viciously exploitative Pimp. She ends up as a common prostitute with a serious drug habit.
All three narratives, although they exist independent of each other, overlap somewhat. Each of the three women occupies the margins of the other, sometimes even meeting but never fully communicating. The Painter (Vettriano) is the only person (or connection) they share, although largely unbeknown to each other.
The underlying theme of this dance-drama is, therefore, the social alienation and solitude of women within a dominant, essentially male world as represented in the paintings of Jack Vettriano.
Although Vettriano deliberately deals in sexual clichés, behind his apparent voyeuristic representations of such women there lurks an understanding of their vulnerability and, in the music and lyrics that inspire his work, a way perhaps for his subjects to move towards greater freedom and self-fulfilment.
Settings
The settings are minimal, with lighting playing an important part in the evocation of place and mood.
Three large back-projection screens dominate the upstage area, square onto the audience and above the dancers. Throughout the performance these display paintings by Vettriano, relevant to each scene and the three principal characters.
The three screens (SR, SC and SL) can be operated separately or together. Sometimes they include live action or pre-recorded montages of Vettriano’s works but most of the time they show still or sometimes moving reproductions of selected paintings or even newsreel footage of the period.
Music Sequences
Please note that the track numbers in the script correspond to the track numbers on the accompanying CD Disc.
Track 1 - Overture
Miles Davis - Mellow Miles - Miles - Mile Davis
Track 2 - Painter’s Studio
Leonard Cohen - Dance me to the end of love Columbia 512852 2
Track 3 - Private Dancer
Tina Turner - Private Dancer UK:CDESTV 1 7 96630 2
Track 4 - Aint Misbehavin’
Fats Waller - Aint Misbehavin’ V&A RRCD 116/VA
Track 5 - Small Hotel
Carroll Gibbons - There’s a small hotel RRCD122
Track 6 - Mirror Mirror
Diana Ross - Mirror Mirror EMI 7243 5 35862 2
Track 7 - Seaside Outing
The Beatles - Here comes the sun (1966)
Track 8 - Cold, Cold Heart
Tony Bennett - Cold, Cold Heart PLATCD 1214
Track 9 - Party time!
Miles Davis - Splatch Tuto Jazz Warner
Track 10 - Mandy’s Blues
Mikes Davis - Blue In Green (5.38)
Track 11 - Rose’s Break for Freedom
Track 12 - Round Midnight
Ella Fitzgerald - Round Midnight American Masters Verve 31454 78002
Track 13 - Finale
Whitney Houston - One Moment in Time BMG/Arista
Please note that the copyright for all the music listed above resides with the artists concerned. Clearances will be needed for theatrical release.
Cast
_________________________________
Principal Roles
Rose
Rose’s Lover
Trilby Man (Lap Dance)
Lonely Man
Mandy
Mandy’s Smart Young Man
Rachman
Pimp
Christine
Predatory Man
The Painter (Vettriano) and Host
Supporting Roles
Assorted pickpockets, gangsters, nightclub dancers, shoppers, musicians, seaside trippers, partygoers, bodyguards and barflies.
Strangers in the Night - First Drat Scenario
Scene 1 - Dance Overture
TRACK 1 - Miles Davis - Mellow Miles
OXFORD STREET, LONDON CIRCA 1958
THIS OPENING DANCE SEQUENCE IS DESIGNED TO SHOWCASE THE COMPANY, INTRODUCE THE PRINCIPAL CHARACTERS AND INDICATE SOMETHING OF THEIR BACKGROUND. IT IS EXHUBERANT, COLOURFUL AND UPBEAT. THE DANCE STYLE HERE IS A PARODY OF 1950’s BRITISH MUSICAL STYLES - VERY TOMMY STEELE. LATER, AS THE SEQUENCE DEVELOPS, IT ASSUMES A MORE MODERN FORM THAT IS CLOSER TO CONTEMPORAY DANCE-DRAMA BUT STILL PARTLY BASED ON DANCE FORMS OF THE PERIOD.
0.0 OPENING
HOUSE LIGHTS SLOWLY FADE DOWN IN AUDITORIUM - TO BLACK
0.8 OPENING REPRISE
CENTER SCREEN FADES UP TO REVEAL TRIPLE COLLAGE OF Ties That Bind (SC), Angel (SR) AND Back Where You Belong (SL).

STREET LIGHTS FADE UP TO REVEAL BUSY LONDON STREET (OXFORD ROAD PERHAPS)
WHAT FOLLOWS IS A RAPID MONTAGE OF STREET ACTUALITY, IN THE MIDST OF WHICH EACH OF THE CENTRAL CHARACTERS MAKE THEIR FIRST APPEARANCE.
0.16 SOLO TRUMPET x 2
VETTRIANO’S STUDIO. THE S.C SCREEN SHOWS VETTRIANO CONTEMPLATING The Singing Butler CANVAS IN HIS STUDIO. AS THE SHOPPERS ENTER, VETTRIANO (LIVE ACTOR MASKING PAINTED VETTRIANO IN PAINTING), TURNS AND WATCHES WHAT FOLLOWS.
OXFORD STREET, LONDON. STREET ACTIVITY. ENTER FULL COMPANY - AS SHOPPERS, TOURISTS, PICKPOCKETS, MINOR GANGSTERS, SPIVS ETC. THEY TRAVERSE THE STAGE REPEATEDLY.
SOME INTERACTION BUT ESSENTIALLY BUSY LONDONERS GOING ABOUT THEIR BUSINESS.
LIVE VETTRIANO SURREPTITIOUSLY EXITS S.R AS S.C SCREEN CROSS-FADES TO Back Where you Belong - JUST AS (LIVE) GIRL IN RED DRESS (ROSE) ENTERS S.R AND EMBRACES MAN IN LONG COAT (SC). HE GRASPS A BUNCH OF FLOWERS, AS IN THE PAINTING.
0.30 TRUMPETS REPRISE
AS ABOVE, BUT NOW THE MEN CLUSTER TOGETHER (MOSTLY STREET SPIVS OR MINOR GANGSTERS) AT ONE SIDE OF THE STAGE AND EYE THE WOMEN THAT PASS. THEY ARE MET WITH MIXED RESPONSE FROM THE WOMEN, SOME OF WHOM ARE SHOCKED; OTHERS RESPOND POSITIVELY, ONE OR TWO YOUNGER WOMEN EVEN FLIRTING OUTRAGEOUSLY.
THROUGHOUT THIS SEQUENCE THE LIGHTS GENTLY CHANGE FROM DAYLIGHT TO EARLY EVENING.
ROSE (THE GIRL IN THE RED DRESS) EXITS SR WITH HER LOVER. SHE IS NOW CARRYING THE BUNCH OF FLOWERS. HE, HOWEVER, HAS FORGOTTON HIS SUITCASE - WHICH IS SWIFTLY LIFTED BY A YOUNG THIEF. THE THIEF QUICKLY EXITS SL.
0.40 SAXOPHONE SOLO
MANDY (EXPENSIVELY DRESSED CALL-GIRL) ENTERS. SHE IS FOLLOWED BY A SMART YOUNG MAN, CLEARLY BESOTTED. HE CARRIES A PILE OF MANDY’S SHOPPING - HAT BOXES, HARRODS CARRIER BAGS ETC. HE FOLLOWS HER LIKE A PET POODLE BUT IS LARGELY IGNORED BY MANDY HERSELF.
THE MINOR GANGSTERS SURROUND MANDY. SHE FLIRTS WITH EACH IN TURN WHILE SIMULTANEOUSLY BRUSHING THEM OFF EFFORTLESSLY. HER DANCE IS MILDLY FLIRTATIOUS, ELEGANT BUT WITH AN UNMISTAKABLE SEXUAL SUBTEXT. HER ‘POODLE’ WATCHES ALL THIS FORLORNLY FROM THE FAR SIDE OF THE STAGE.
DURING THIS SEQUENCE THE LIGHTS DARKEN AS NIGHT FALLS. THE SCREENS CHANGE TO INTERIOR EVENING OR NIGHT LOCATIONS - The City Café (SR), The Twilight Zone (SC), The Red Room (SL).
NIGHTCLUB INTERIOR. THE MEN NOW CLUSTER AROUND MANDY. THEY PROVIDE HER WITH A BAR STOOL, LIGHT HER CIGARETTE, PLY HER WITH DRINKS ETC. WE HAVE NOW MOVED FROM OXFORD STREET EXTERIOR TO SOHO CLUB/CAFÉ INTERIOR.
THE SMART YOUNG MAN IS SLUMPED IN A CORNER, FOLORNLY. HE IS SURROUNDED BY MANDY’S BOXES.
ENTER RACHMAN. HE IS AN OLDER MAN, WELL DRESSED BUT WITH THE SLEEK, SOMEWHAT SINISTER LOOK OF A WELL-OILED SEAL.
MANDY RESPONDS WARMLY TO HIS GREETING AND EMBRACES HIM (THEY HAVE CLEARLY MET BEFORE BUT ARE NOT YET LOVERS). THE OTHER MEN FADE AWAY AS IF BY MAGIC.
LIGHTS FADE, PROVIDING MANDY AND HER POTENTIAL LOVER RACHMAN WITH A NARROW POOL OF LIGHT SC. THE REST OF THE COMPANY (BATHED IN RED LIGHT ONLY) FREEZE INTO POSTURES REFLECTING THE IMAGES NOW ON THE SCREEN - Games of Power (SR); Weaving the Web (SC) AND Cleo and the Boys (SL)
THE DANCE THAT FOLLOWS SHOWS MANDY GENTLY LEADING ON HER NEW CONQUEST (RACHMAN). RACHMAN IS LESS SUBTLE AND QUICKLY MAKES HIS INTENTIONS CLEAR. SINCE THEY ARE IN PUBLIC, MANDY SCOLDS HIM GENTLY, DISENGAGES HERSELF FROM HIS CLUMSY EMBRACE AND LEAVES - BUT NOT BEFORE KISSING HIM ON THE CHEEK AND HANDING HIM HER CARD. SHE EXITS WITH A WAVE OF AN ELEGANT, GLOVED HAND.
THE YOUNG MAN SCRAMBLES TO HIS FEET AND HURRIDLY FOLLOWS, CLASPING MANDY’S MANY BOXES AS BEST HE CAN.
2.00 MUTED TRUMPET SOLO
SOHO NIGHTCLUB - BACKSTAGE. LIGHTS CHANGE AS ROSE (AS LAP DANCER) ENTERS. SHE IS THE SAME GIRL WE SAW EMBRACING HER LOVER IN OXFORD STREET BUT NOW SHE IS DRESSED FOR WORK IN BLACK STOCKINGS, BLACK DRESS WITH SKIRT SPLIT TO THE HIP AND HER BROWN HAIR IN A CHINON, AS IN Dancer For Money .
THE NIGHTCLUB INTERIOR IS STILL PREDOMINANTLY RED BUT WITH A POOL OF WHITE LIGHT (SC), BACKLIT WITH SMOKEY BLUE.
AS ROSE TAKES SC, THE COMPANY DRAW CLOSER, SURROUNDING ROSE’S INTENSE POOL OF LIGHT ALTHOUGH THEY THEMSELVES REMAIN BATHED IN RED.
THE DANCE THAT FOLLOWS IS CURIOUS MIXTURE OF CONTEMPORARY LAP DANCE AND CLASSICAL BALLET MOVEMENTS. ALTHOUGH ROSE IS DANCING IN PUBLIC THE AUDIENCE SHOULD FEEL HER INATE INTROSPECTION. IN FACT, HER SOLO DANCE SHOULD REVEAL A MIXTURE OF EXULTATION AND JOY IN THE PHYSICALITY OF HER DANCING TEMPERED WITH AN UNDERLYING SADNESS. SHE IS NOT DANCING FOR HER (PREDOMINANTLY MALE) AUDIENCE BUT FOR HERSELF.
TOWARDS THE END OF HER DANCE ROSE’S LOVER (FIRST SEEN GREETING HER IN OXFORD STREET), IS CLEARLY UNCOMFORTABLE WITH HER ROLE. AFTER A WHILE HE DETACHES HIMSELF FROM THE CROWD AND TRIES TO PERSUADE HER TO LEAVE THE DANCE FLOOR. AT FIRST SHE IGNORES HIM. HIS PERSISTENCE EVENTUALLY BEGINS TO ANNOY THE STAGE AUDIENCE AND ONE MAN PULLS HIM ASIDE, RESULTING IN A MILD SCUFFLE.
ROSE, NOW ANGRY AT HER LOVER’S BEHAVIOUR, RESPONDS BY BREAKING OFF HER DANCE. SHE BERATES HIM BEFORE TURNING ON HER HEELS AND EXITING UPSTAGE - TO APPLAUSE FROM THE AUDIENCE. HER LOVER IS LEFT STARING AFTER HER.
3.24 SAXOPHONE SOLO
LIGHTS CHANGE TO REVEAL AN ATTRACTIVE BRUNETTE (CHRISTINE) SEATED SL.
THIS IS THE WOMAN WHO IS THE SUBJECT OF VETTRIANO’S PAINTING The Main Attraction WHICH NOW APPEARS ON SL SCREEN BEHIND HER. HER IMAGE IS ALSO REVEALED ON SR SCREEN (Games of Power) WHILE SC SCREEN SHOWS AN ATTENTIVE IF SOMEWHAT PREDATORY MAN IN A BLACK TUXEDO WRAPPING A COAT AROUND HER SHOULDERS (Words of Wisdom). IN THIS PAINTING CHRISTINE IS DRESSED IN A GREEN BALLGOWN. HE ACCOMPANIES HER TO THE BAR, ORDERS HER A DRINK, KISSES HER THEN EXITS.
IN THE DANCE THAT FOLLOWS SHE QUICKLY BECOMES THE ATTENTION OF A SMALL GROUP OF BARFLIES. AT FIRST THEY EYE HER AS SHE SIPS HER DRINK BUT THEN ONE, BOLDER THAN THE REST, APPROACHES AND LIGHTS HER CIGARETTE. SHE RESPONDS POLITELY BUT IS NOT OVER ENTHUSIASTIC AND AFTER SOME DESULTORY EXCHANGES THE MAN WANDERS OFF.
A SECOND MAN APPROACHES AND OFFERS TO BUY HER A DRINK. SHE ACCEPTS AND THE BARMAN BRINGS HER AN EXPENSIVE COCKTAIL. THE MAN SITS NEXT TO HER, PLACING HIS HAND ON HER KNEE. SHE POLITELY BUT FIRMLY REMOVES HIS HAND, STANDS AND CROSSES THE ROOM - LEAVING THE MAN STARING AFTER HER.
A THIRD MAN ACCOSTS HER AND TRIES TO GET HER TO DANCE - EVEN THOUGH SHE HAS A CIGARETTE IN ONE HAND AND A COCKTAIL GLASS IN THE OTHER. SHE IS AMUSED AT HIS DARING, DANCES A STEP OR TWO WITH HIM (HE IS A LITTLE DRUNK) BUT THEN NEATLY DISENGAGES, CROSSING TO THE SAFETY OF THE FAR SIDE OF THE ROOM.
HERE SHE SITS ON A BAR STOOL, ORDERS ANOTHER COCKTAIL AND WATCHES AS THE DRUNK DANCES ALONE ON THE DANCE FLOOR, MUCH TO THE AMUSEMENT OF OTHERS IN THE CLUB.
4.45 OPENING TRUMPETS REPRISE
THE LIGHTS CHANGE ONCE MORE. WE ARE STILL IN THE SOHO NIGHTCLUB BUT NOW IT IS DARKER AND THE DANCERS, OCCUPYING THE SC DANCE FLOOR, ARE LARGELY SEEN IN SILHOUETTE.
CHRISTINE IS FINALLY PERSUADED TO DANCE AND QUICKLY BECOMES THE CENTRE OF ATTENTION, PARTICULARLY OF THE THREE MEN WHO FIRST APPROACHED HER AT THE BAR. SHE IS NOW A LITTLE DRUNK HERSELF AND BEGINS TO DANCE FREELY, FLIRTING WITH EACH MAN IN TURN. SOME OF THE OTHER WOMEN ON THE DANCE FLOOR RESENT THE ATTENTION SHE IS GETTING.
5.18 OPENING TRUMPETS REPRISE (REPEAT)
PREDATORY MAN ENTERS. IT IS THE MAN SEEN IN Words of Wisdom, THE IMAGE OF WHICH IS STILL VISIBLE ON THE SC SCREEN. HE IS CARRYING CHRISTINE’S COAT.
AS THE SCENE ENDS THE LIGHTS FADE, LEAVING ONLY THE TWO OF THEM VISIBLE BENEATH THE SC SCREEN. THE OTHERS ON STAGE FREEZE AS HE GENTLY PLACES THE COAT AROUND CHRISTINE’S SHOULDERS. BOTH FREEZE IN THE EXACT POSITIONS SHOWN IN THE PAINTING ABOVE THEM.
5.25 LIGHTS AND MUSIC SLOWLY FADE. BLACKOUT.
[Duration - 5.45]
_____________________________________________________________
SCENE CHANGE - DURING WHICH THE BAR STOOLS ARE REMOVED AND A LARGE EASEL, CANVAS AND SMALL WOODEN CHAIR ARE BROUGHT ONSTAGE. BEHIND THE EASEL THERE IS A SMALL TABLE WITH PALLETTE AND BRUSH.
_____________________________________________________________
Scene 2 - The Painter’s Studio
TRACK 2 - Leonard Cohen - Dance me to the end of love
IN THIS (DREAM) SEQUENCE WE ARE EXPLORING THE RELATIONSHIP THE PAINTER (VETTRIANO) HAS WITH HIS MODELS - OUR CENTRAL CHARACTERS, ROSE, CHRISTINE AND MANDY.

THIS IS THE ONLY SCENE(EXCLUDING THE FINALE) IN WHICH ALL THREE APPEAR TOGETHER BUT IT SHOULD BE MADE CLEAR TO OUR AUDIENCE THAT ALTHOUGH ALL THREE WOMEN DANCE WITH THE PAINTER (VETTRIANO), THEY ARE ESSENTIALLY UNAWARE OF EACH OTHER’S PRESENCE AND ARE OTHERWISE WHOLLY ABSORBED IN THEIR OWN PREOCUPATIONS AND FANTASIES.
THIS SCENE IS, THEREFORE, ESSENTIALLY A DREAM SEQUENCE OR FANTASY IN WHICH MODELS AND ARTIST INTERACT. THIS RELATIONSHIP, HISTORICALLY, HAS ALWAYS BEEN AN UNEASY MIX OF FANTASY, COMMERCIALISM AND SEX (TAKE PICASSO, FOR EXAMPLE) BUT IN OUR SCENE THE PAINTER SHOWS GENUINE AFFECTION FOR ALL THREE WOMEN. THERE IS, OF COURSE, A MEASURE OF EXPLOITATION BUT THERE IS ALSO LOVE.

THE AUDIENCE MUST ASSUME THAT THE WORDS OF THE SONG ARE THE WORDS OF THE PAINTER HIMSELF, SEEKING GIUDANCE IN HIS OWN AFFAIRS OF THE HEART.
0.0 NSTRUMENTAL INTRODUCTION [32”]
La, la, la la etc.
PAINTER’S MAYFAIR STYDIO. LIGHTS FADE UP VERY SLOWLY TO REVEAL THE PAINTER’S ELEGANT, LONDON STUDIO. IT IS (THE FOLLOWING) MORNING AND BRIGHT SUNLIGHT POURS INTO THE ROOM, AS IF FROM TALL WINDOWS ON ONE SIDE OF THE STAGE.
SL Screen - Model In Black (Christine)
SC Screen - The Work Station (The Painter)
SR Screen - A Valentine Rose (Rose)
CHRISTINE (DRESSED IN BLACK) IS SEATED UPSTAGE LEFT, WITH ONE ARM RESTING OVER THE BACK OF HER WOODEN CHAIR. SHE HAS A CIGARETTE IN HER LEFT HAND AND IS IN PROFILE TO THE AUDIENCE - AS IN Model in Black WHICH IS VISIBLE ABOVE AND BEHIND HER.
ROSE IS STANDING DOWNSTAGE RIGHT, LOST IN THOUGHT. SHE IS HOLDING HER JACKET AND A SINGLE RED ROSE - AS IN Valentine Rose, WHICH IS ALSO VISIBLE ABOVE AND BEHIND HER. BEHIND ROSE (SR) THERE IS A SMALL ARCHAIR COVERED IN A WHITE DUST CLOTH
THE PAINTER (VETTRIANO) IS STANDING STAGE CENTRE, LEANING ON HIS EASEL - AS IN The Work Station WHICH IS ALSO VISIBLE ABOVE AND BEHIND HIM. HE IS DRESSED IN BLACK. HE HAS THE STUB OF A CIGARETTE IN HIS MOUTH AND GLASSES IN HIS RIGHT HAND. HE APPEARS TO BE STUDYING CHRISTINE SL. BEHIND HIM IS A SMALL TABLE WITH PALLETTE, BRUSH AND CAMERA.
MANDY IS NOT YET ON STAGE. SHE WILL ENTER LATER.
THROUGHOUT THIS OPENING TABLEAU THERE IS HARDLY ANY MOVEMENT, EXPEPT PERHAPS FOR ROSE HOLDING HER FLOWER TO HER NOSE AND SAVOURING ITS FRAGRANCE, CHRISTINE DRAWING ON HER CIGARETTE AND THE PAINTER STUBBING OUT HIS CIGARETTE AND PUTTING HIS GLASSES BACK ON.
THESE MOVEMENTS, SLIGHT AS THEY ARE, ARE ALMOST IN SLOW MOTION - AS IN A GENTLE DREAM. INDEED, BOTH WOMEN MOVE AS IF IN A DREAM, UTTERLY SELF-ABSORBED AND WHOLLY UNAWARE OF EACH OTHER’S PRESENCE IN THE ROOM.
DURING THE FIRST VERSE THE PAINTER APPEARS TO BE PAINTING CHRISTINE IN HER SEATED POSITION SL. FROM TIME TO TIME HE STUDIES HER INTENTLY, THEN RESUMES WORK. THE CANVAS IS NOT VISIBLE TO THE AUDIENCE. CHRISTINE DOES NOT MOVE, OTHER THAN TO DRAW LANGUIDLY ON HER CIGARETTE. THROUGHOUT SHE APPEARS SELF-ABSORBED, STARING INTO THE MIDDLE DISTANCE RATHER THAN AT THE PAINTER.
0.32
Dance me to your beauty with a burning violin,
Dance me through the panic till I’m gathered safely in.
Lift me like an olive branch and be my homeward dove.
Dance me to the end of love.
Dance me to the end of love.
DURING THE FOLLOWING VERSE ROSE DANCES, CIRCLING THE PAINTER’S EASEL. SHE HAS DISCARDED HER JACKET BUT STILL CARRIES THE ROSE, OCCASIONALLY SAVOURING ITS PERFUME. HER DANCE IS SLOW AND GENTLE AND VERY BALLETIC.
THE PAINTER, DISTRACTED FROM HIS WORK ON CHRISTINE’S (UNSEEN) PAINTING, GENTLY HOLDS ROSE’S HAND FROM TIME TO TIME, ALLOWING HER TO CIRCLE CLOSER AND CLOSER TO HIM. IT IS SHE WHO IS SEDUCING HIM. THE DANCE ENDS WITH A KISS.
1.08
Oh let me see your beauty when the witnesses are gone.
Let me feel you moving like they do in Babylon.
Show me slowly what I only know the limits of.
Oh, dance me to the end of love.
Dance me to the end of love.
1.45 INSTRUMENTAL BREAK [16”] BANJO/VIOLIN
DURING THIS SOMEWHAT JAUNTY INSTRUMENTAL BREAK CHRISTINE STANDS, STUBS OUT HER CIGARETTE AND LANGUIDLY STRETCHES.
SHE CROSSES TO THE CANVAS, TAKES THE PAINTER BY THE ARM IN A CASUAL, AFFECTIONATE MANNER AND STUDIES THE CANVAS.
MEANWHILE ROSE GENTLY PIROUETTES DOWNSTAGE RIGHT, CLOSELY OBSERVED BY THE PAINTER.
IN THE VERSE THAT FOLLOWS CHRISTINE AND ROSE DANCE TOGETHER, CIRCLING ABOUT EACH OTHER IN EVER INTRICATE PATTERNS. THEY NEVER TOUCH AND ALTHOUGH THIS IS A DUET IT APPEARS THEY ARE WHOLLY UNAWARE OF THE OTHER’S PRESENCE.
THE PAINTER NOW TAKES HIS CAMERA AND STARTS TO PHOTOGRAPH THE DANCE, CONCENTRATING EXCLUSIVELY ON ROSE. CHRISTINE REMAINS WHOLLY UNAWARE THAT HE IS IGNORING HER AND THAT HE HAS EYES ONLY FOR HER APPARENT RIVAL.
WHAT BECOMES CLEAR AS THE DUET DEVELOPS IS THAT BOTH WOMEN ARE DANCING FOR THE PAINTER, USING THEIR BODIES TO GENTLY SEDUCE HIM.
1.59
Dance me to the wedding now, dance me on and on.
Dance me very tenderly and dance me very long.
We’re both of us beneath our love, we’re both of us above.
Dance me to the end of love.
Dance me to the end of love.
LIGHTING CHANGE - AS IF A CLOUD HAS MOMENTARILY OBSCURED THE SUN. THE STUDIO IS NOW DARKER, WITH STRONG SHADOWS FALLING ACROSS THE ROOM.
SL Screen - Chelsea Morning
SC Screen - Lucky Severn
SR Screen - Models in the Studio
ENTER MANDY SR.
SHE WEARS A RED COAT, SHORT BLACK SKIRT AND RED, HIGH-HEEL SHOES - AS IN THE PAINTING (Models in the Studio 1) VISIBLE ABOVE HER. SHE SITS IN THE COVERED CHAIR IN PROFILE TO THE AUDIENCE.
IN THE VERSE THAT FOLLOWS ROSE AND CHRISTINE MOVE UPSTAGE RIGHT, ABOVE MANDY’S CHAIR. THEY BOTH REMAIN STATIC, AS IF STARING OUT OF THE WINDOW SR. THEIR POSE IS SIMILAR TO THAT USED IN Models in the Studio 2.
THEY FACE EACH OTHER, SLIGHLY IN SILHOUETTE BUT STILL WHOLLY UNAWARE OF THE OTHER’S PRESENCE.
THE PAINTER SITS SL IN CHRISTINE’S CHAIR AND TAKES FROM HIS JACKET POCKET A SMALL SKETCH BOOK. HE STARTS SKETCHING MANDY OPPOSITE HIM SR.
THERE IS LITTLE MOVEMENT FROM EITHER MANDY OR THE PAINTER, OTHER THAN WHEN SHE DRAWS ON HER CIGARETTE OR LANGQUIDLY CROSSES AND UNCROSSES HER LEGS.
IT SOON BECOMES CLEAR THAT MANDY IS ALSO TRYING TO SEDUCE HIM, REVEALING MORE OF HER SHAPELY LEGS THAN IS STRICTLY NECESSARY FOR THE POSE.
2.35
Dance me to the children who are asking to be born.
Dance me through the curtains that our kisses have outworn.
Raise a tent of shelter now, though every thread is torn.
Dance me to the end of love.
3.04 INSTRUMENTAL BREAK [42”] BANJO/VIOLIN
DURING THIS SOMEWHAT JAUNTY INSTRUMENTAL BREAK THE PAINTER STANDS, THROWS HIS SKETCH ASIDE, CROSSES TO MANDY AND KNEELS AT HER FEET - AS IN THE PAINTING STILL VISIBLE ABOVE HER. WITH ONE HAND HE BRINGS HIS CIGARETTE TO HIS MOUTH AND WITH THE OTHER GENTLY CARESSES HER RIGHT (DOWNSTAGE) LEG AND THIGH.
SHE SMILES, DRAWS ON HER OWN CIGARETTE AND LANGUIDLY LEANS BACK IN HER CHAIR, BLOWING SMOKE AT THE CEILING.
3.18 La, la, la etc.
DURING THIS SECTION ROSE AND CHRISTINE STAND UPSTAGE OF MANDY AND THE KNEELING PAINTER.
BOTH WOMEN PREPARE TO LEAVE - ROSE PUTTING ON HER JACKET WHILE CHRISTINE ADJUSTS HER LIPSTICK, HAVING TAKEN A SMALL MIRROR FROM HER POCKET.
THROUGHOUT THIS SLOW-MOVING TABLEAU THE PAINTER CONTINUES TO STROKE MANDY’S THIGH. HE THEN REMOVES HER SHOES, CARESSING HER FEET.
IN THE VERSE THAT FOLLOWS MANDY UNCROSSES HER LEGS AND SLOWLY PULLS HER SKIRT UP HIGHER, REVEALING THE TOPS OF HER STOCKINGS. THE PAINTER LEANS FORWARD AND BURIES HIS FACE IN HER LAP. SHE CARESSES HIS LONG BLACK HAIR. THERE IS A SMILE OF SATISFACTION ON HER FACE - THAT OF A CALL-GIRL CHALKING UP ANOTHER SUCCESSFUL ‘CATCH‘.
MEANWHILE, ROSE AND CHRISTINE RESUME THEIR OPENING POSITIONS, WITH ROSE STANDING SR AND CHRISTINE SEATED SL.
SLOW LIGHTING CHANGE - BACK TO THAT AT THE START OF THIS SCENE. THE IMAGES ON THE SCREENS ALSO CHANGE:-
SL Screen - Model In Black (Christine)
SC Screen - The Work Station (The Painter)
SR Screen - A Valentine Rose (Rose)
THIS TIME, HOWEVER, IT APPEARS THE TWO WOMEN ARE AWARE OF WHAT IS HAPPENING BETWEEN THE PAINTER AND MANDY. THEY BOTH APPEAR LOST IN THEIR OWN PRIVATE THOUGHTS AND HOLD THIS POSITION (AS IN THEIR RESPECTIVE PORTRAITS NOW VISIBLE ABOVE THEM) UNTIL THE END OF THE SCENE.
3.47
Dance me to your beauty with a burning violin.
Dance me through the panic till I’m gathered safely in.
Touch me with your naked hand, touch me with your glove.
SC Screen changes to Dance Me to the End of Love
Dance me to the end of love.
Dance me to the end of love
Dance me to the end of love. [Duration 4.35]
SLOW FADE TO BLACK WITH THE MUSIC.
___________________________________________________________________________
SCENE CHANGE - DURING WHICH EASEL, CHAIRS ETC. ARE REMOVED. THESE ARE REPLACED BY A LOW TABLE, CHAIR (SR) AND SHABBY DRESSING TABLE PLUS CHAIR DSL.
___________________________________________________________________________
Scene 3 - Private Dancer
Track 3 - Tina Turner - Private Dancer
SL Screen - Yesterday’s Dream (Rose)
SC Screen - Private Dancer (Rose)
SR Screen - Yesterday’s Dream (Rose, Reversed)
LIGHTS FADE UP TO REVEAL BACKSTAGE AT THE ‘PURPLE CAT’ NIGHT CLUB, SOMEWHERE IN SOHO. LONDON. ROSE IS IN HER MAKESHIFT ‘DRESSING ROOM’ AT THE FOOT OF A STAIRCASE LEADING TO THE CLUB ABOVE.
0.0 INSTRUMENTAL INTRODUCTION [18”]
ROSE IS REVEALED STANDING IN PROFILE, LEANING AGAINST A TABLE BUT WITH ONE SHAPELY LEG RAISED ON A LOW TABLE. HER LEFT HAND, IN WHICH SHE HOLDS A CIGARETTE, IS RESTING ON HER KNEE. WITH HER OTHER HAND SHE IS APPLYING HER LIPSTICK. THERE IS A RED DRESS SLUNG OVER THE STOOL.

Private Dancer
AS THE LYRICS BEGIN ROSE TURNS, PUTS HER LIPSTICK AWAY, PLACES HER CIGARETTE IN HER MOUTH AND ADJUSTS HER STOCKINGS. SHE IS NOW FACING DOWNSTAGE. SHE BRIEFLY ADJUSTS HER HAIR WITH BOTH HANDS THEN PAUSES, DRAWING DEEPLY ON HER CIGARETTE. SHE IS LOST IN HER OWN THOUGHTS.
0.18
All the men come in these places,
And the men are all the same,
You don’t look at their faces
And you don’t ask their names.
And you don’t think of them as human,
You don’t think of them at all.
You keep your mind on the money,
Keeping your eyes on the wall.
0.50 ROSE THROWS HER CIGARETTE TO THE FLOOR, STUBS IT OUT WITH THE SOLE OF HER SHOE AND BEGINS TO MOVE SLOWLY TO THE MUSIC. THESE ARE NOT SO MUCH THE STEPS OF A CLEARLY DEFINED ROUTINE BUT WARM-UP EXERCISES AND SEMI-BALLETIC MOVES - AN UNCONSCIOUS REFERENCE TO HER CLASSICAL TRAINING, LONG SINCE ABANDONED. THROUGHOUT THIS SOLO DANCE SHE REMAINS LOST IN HER OWN THOUGHTS. HER MOVES (PART DANCE, PART MARKING) ARE SLOW, ELEGANT YET RATHER SAD AND INTROSPECTIVE.
I’m your private dancer; a dancer for money.
I’ll do what you want me to do.
I’m your private dancer; a dancer for money
And any old music will do.
1.08 LIGHTING CHANGE - MOVING US FROM BACKSTAGE AT THE NIGHTCLUB TO A SIDE ROOM AT THE ‘PURPLE CAT’ NIGHTCLUB ITSELF. THE PLACE IS DARK AND RATHER SEEDY.
DOWNSTAGE LEFT THERE IS CHAIR, STANDING IN A POOL OF BLUISH LIGHT. ROSE CROSSES INTO THIS POOL OF LIGHT, LEANS LIGHTLY ON THE CHAIR. SHE LOOKS ABOUT HER - AS IF EXPECTING A CLIENT. DESPITE THIS BRAVE APPEARANCE, HER BODY-LANGUAGE INDICATES MENTAL FATIGUE AND INNER SADNESS.
I want to make a million dollars,
I wanna live out by the sea.
Have a husband and some children -
Yeah, I guess I want a family.
1.27 TRILBY MAN ENTERS FROM UPSTAGE RIGHT. HE SIDLES UP TO ROSE, LOOKS HER UP AND DOWN APPROVINGLY AND SITS ON THE CHAIR, HIS BACK TO THE AUDIENCE.
All the men come in these places
And the men are all the same.
You don’t look at their faces
And you don’t ask them their names.

All three Screens (SL, SC and SR) change to Private Dancer
1.42 ROSE POSITIONS HERSELF UPSTAGE OF THE SEATED MAN (REVERSE OF ILLUSTRATION ABOVE) AND BEGINS TO DANCE FOR HIM. HER MOVES NOW ARE SLINKY, PROVOCATIVE AND STUDIED. SOMETIMES SHE FACES HIM UPSTAGE, SOMETIMES TURNING DOWNSTAGE, WITH HER SHAPELY BACK TO HIM. EITHER WAY HE APPEARS TO BE ENJOYING THE EXPERIENCE.
I’m your private dancer; a dancer for money.
I’ll do what you want me to do.
I’m your private dancer; a dancer for money
And any old music will do.
1.58 LIGHTING CHANGE, NOW ISOLATING BOTH FIGURES IN AN EVEN NARROWER POOL OF BACKLIT, RED LIGHT.
THE SCENE NOW TAKES ON A SOMEWHAT NIGHTMAREISH ASPECT AS THE MAN, CLEARLY ROUSED, ATTEMPTS TO TOUCH HER. SHE FENDS HIM OFF DEFTLY WHILST STILL DANCING.
I’m your private dancer; a dancer for money.
I’ll do what you want me to do.
Just a private dancer; a dancer for money
And any old music will do.
2.18 TIRED NOW OF HIS ATTEMPTS TO TOUCH HER, ROSE STOPS DANCING ABRUPTLY AND INDICATES THAT SHE WISHES TO BE PAID. RELUCTANTLY TRILBY MAN HANDS HER A WAD OF NOTES WHICH SHE QUICKLY COUNTS THEN DEPOSITS DOWN THE FRONT OF HER DRESS.
Deutch marks or dollars,
American Express will do nicely, thank you.
Let me loosen up your collar.
Tell me, do you wanna see me do the shimmy again?
2.34 GUITAR/ORGAN INSTRUMENTAL [40”]
LIGHTING CHANGE TO NARROW POOL OF WHITE LIGHT, BACKLIT WITH SMOKEY BLUE. THE RED LIGHT SLOWLY DISAPPEARS LEAVING THE REST OF THE STAGE IN DARKNESS.
TRILBY MAN STANDS, PICKS UP THE CHAIR AND, WITH AN ANGRY FLOURISH, EXITS DOWNSTAGE RIGHT, DISAPPEARING INTO THE DARK.
ROSE RESUMES HER LAP DANCE BUT SLOWLY TRANSFORMS IT INTO AN ELEGANT, ELEGAIC BALLET. SHE IS DREAMING OF A FAMILY AND CHILDREN PERHAPS. SHE CONCLUDES THIS REVERIE WITH AN EXHILARATING CLASSICAL SPIN, ON POINTS.
3.15 THE RETURN OF THE LYRICS BRINGS HER BACK TO EARTH. SHE CROSSES TO HER DRESSING TABLE SR, LIGHTS A CIGARETTE, DRAWS ON IT QUICKLY, STUBS IT OUT WITH HER FOOT AND DEFTLY STEPS OUT OF HER BLACK DRESS.
I’m your private dancer; a dancer for money.
I’ll do what you want me to do.
I’m your private dancer; a dancer for money
And any old music will do.
3.30 SHE PICKS UP THE RED DRESS FROM THE BACK OF HER CHAIR, ADMIRES IT BRIEFLY THEN STEPS INTO IT. SHE LOOKS AT HERSELF IN THE MIRROR, TURNING WITH THE EVIDENT DELIGHT OF A YOUNG GIRL TRYING ON A NEW DRESS FOR THE FIRST TIME
I’m your private dancer; a dancer for money.
I’ll do what you want me to do.
I’m your private dancer; a dancer for money
And any old music will do.
3.47 LIGHTING CHANGE AS ROSE AGAIN CROSSES DOWNSTAGE LEFT INTO THE POOL OF LIGHT, TWIRLING IN HER RED DRESS. THESE ARE CLASSICAL MOVES, FAR REMOVED FROM THE SORDID REALITY OF HER LAP DANCE ROUTINE. SHE CONTINUES TO SPIN IN THE WARM POOL OF LIGHT UNTIL IT FADES TO BLACK.
I’m your private dancer; a dancer for money….
I’m your private dancer…
TRACK FADES WITH LIGHTS, TO BLACK
[Duration - 4.0]
___________________________________________________________________________
SCENE CHANGE - DURING WHICH A SMALL BAR (SL) AND BABY GRAND PIANO (USR) AND BROUGHT ON, TOGETHER WITH A FEW CAFÉ STYLE TABLES AND CHAIRS.
___________________________________________________________________________
Scene 4 - Aint Misbehavin’
Track 4 - Fats Waller - Aint Misbehavin’
SL Screen - The Purple Cat
SC Screen - Waltzers
SR Screen - The Purple Cat (Reversed)
MAIN BAR, ‘PURPLE CAT‘ NIGHTCLUB, SOHO
LIGHTS FADE UP TO REVEAL NIGHTCLUB INTERIOR. A LURID NEON LIGHT SUSPENDED ABOVE THE STAGE TELLS US THAT WE ARE AT THE ‘THE PURPLE CAT‘.
THE CLUB ITSELF CONSISTS OF A SMALL BAR, BAR STOOLS AND A SMALL DANCE FLOOR SURROUNDED BY A NUMBER OF ROUND, CAFÉ-STYLE TABLES AND CHAIRS. THERE IS A BABYGRAND PIANO OFF TO ONE SIDE AT WHICH SITS A PIANIST.
0.0 INSTRUMENTAL (PIANO) OPENING [1.27]
THE CLUB IS FULL OF PUNTERS, CIRCA 1960. THE JAZZ PIANIST MIMES TO THE MUSIC AS PEOPLE TAKE TO THE FLOOR AND DANCE. OTHER CUSTOMERS CROWD THE BAR, DEMANDING TO BE SERVED BY AN OVERWORKED, SOMEWHAT FLAMBOYANT BARMAN. AMONGST THE CROWD, SLIGHTLY THE WORSE FOR DRINK, IS THE PAINTER. HE HAS A PRETTY GIRL IN TOW BUT IT IS NEITHER ROSE, CHRISTINE NOR MANDY
THE DANCERS ON THE DANCE FLOOR MOVE AS IF IN SOME KIND OF TRANCE - GOING THROUGH THE MOTIONS RATHER THAN SIMPLY ENJOYING THE EXPERIENCE SPONTANEOUSLY. ON CLOSER INSPECTION THE MEN ARE LASCIVIOUS AND THE WOMEN PROVOCATIVE - BUT IN A LANGOROUS, HALF-HEARTED MANNER. THE DANCE STYLE IS CIRCA 1960.
SOON MOST OF THE CUSTOMERS ARE ON THE DANCE FLOOR, LEAVING LONELY MAN SEATED BY HIMSELF AT THE BAR. IT IS HE WHOM WE IMAGINE IS ENACTING THE SONG THAT FOLLOWS. THE LIGHTING AT THE BAR ISOLATES HIM FROM THE CROWD.
1.27
No one to talk with,
All by myself.
No one to walk with
But I’m happy on the shelf.
Aint misbehaving, saving my love
For you, for you, for you, for you.
1.47 LONELY MAN CALLS FOR ANOTHER DRINK. AS THE BARMAN MIXES HIS DRINK, LONELY MAN SCANS THE DANCE FLOOR, EYEING THE WOMEN.
I know for certain
The one I love.
I’m through with flirtin’
Its you that I’m thinking of,
Aint misbehaving,
Saving my love for you.
2.04 LONELY MAN TAKES HIS DRINK, DOWNS IT QUICKLY AND DEMANDS ANOTHER. THE BARMAN OBLIGES.
Like Jack Horner, in the corner,
Don’t go nowhere,
What do I care -
Your kisses are worth waiting for
Believe me!
2.27 LONELY MAN LIGHTS A CIGARETTE, SOMEWHAT SHAKILY, AND DRAWS A DEEP DRAFT OF SMOKE - WHICH HE THEN BLOWS OUT SLOWLY. HE IS STILL EYEING ANY ATTRACTIVE WOMAN THAT DANCES INTO HIS LINE OF VISION.
I don’t stay out late
No place to go,
I’m home about eight
Just me and my radio,
Aint misbehaving,
Saving my love for you.
2.42 CABARET DANCE SEQUENCE [36”]
THERE IS A SUDDEN CHANGE OF LIGHTING, INDICATING THE START OF A CABARET INTERLUDE. THE DANCERS RAPIDLY CLEAR THE FLOOR AS ROSE ENTERS AND OCCUPIES CENTRE STAGE IN A DRAMATIC POOL OF LIGHT. CHRISTINE AND PREDATORY MAN ENTER, JOINING THE CROWD NOW GATHERED ROUND THE DANCEFLOOR
WHAT FOLLOWS IS AN EXHILARATING SOLO DANCE SEQUENCE [36”] TO THE UP-TEMPO MUSIC - ALL SHIMMERING RED DRESS AND DAZZLING STEPS. ITS IS BOTH DRAMATIC AND SEXY.
LONELY MAN IS AT ONCE MESMERISED.
HE QUICKLY STUBS OUT HIS CIGARETTE, SLIPS OFF HIS BAR STOOL AND PUSHES HIS WAY THROUGH THE STANDING CIRCLE OF CUSTOMERS - TO GET A BETTER VIEW OF THIS EXOTIC, STUNNINGLY BEAUTIFUL DANCER.
3.18 PARTYTIME DANCE [1.14]
ROSE CONCLUDES WITH A DRAMATIC FLOURISH AS HER AUDIENCE APPLAUD AND RE-OCCUPY THE DANCE FLOOR, INSPIRED BY WHAT THEY HAVE JUST SEEN AND THE EXHILARATING JAZZ MUSIC THAT FILLS THE ROOM. SOON THE DANCE FLOOR IS FULL, THROBBING WITH FRENZIED, SPONTANEOUS DANCE ACTIVITY.
LONELY MAN, MUCH TO HIS SURPRISE, FINDS HIMSELF DANCING WITH ROSE. BOTH APPEAR TO ENJOY THE EXPERIENCE.
THE DANCE ENDS WITH LOUD APPLAUSE AND BREATHLESS LAUGHTER FROM THE CUSTOMERS, INCLUDING CHRISTINE AND PREDATORY MAN, BOTH CLEARLY VISIBLE SL.
3.33 LONELY MAN IMPULSIVELY LIFTS ROSE ALOFT WHERE, SEATED ON HIS SHOULDER, SHE ACKNOWLEDGES THE ADULATION OF THE CROWD. THE PAINTER IS GLIMPSED TURNING AWAY AND WALKING OFF ANGRILY, FOLLOWED BY PRETTY GIRL
I don’t stay out late,
Got no place to go.
I’m home about eight
Just me and my radio.
Aint misbehaving,
Saving my love for you.
THE CROWD RETURN TO THEIR SEATS, LEAVING ROSE AND LONELY MAN STAGE CENTER IN A DIMINISHING POOL OF LIGHT.
SLOWLY, FACING HIM, ROSE SLIDES TO THE FLOOR IN HIS ARMS. THEY KISS AS THE MUSIC FADES AND THE LIGHTS FADE TO BLACK.
[Duration - 3.54]
___________________________________________________________________________
SCENE CHANGE DURING WHICH THE PIANO, BAR FURNITURE, CHAIRS AND TABLES DISAPPEAR. THESE ARE REPLACED BY DOUBLE BED, SHABBY BEDSIDE TABLE AND WOODEN CHAIR REPRESENTING A SLEAZY SOHO HOTEL.THE NEON LIGHT REMAINS ON DURING THIS SCENE CHANGE.
___________________________________________________________________________
Scene 5 - Small Hotel
Track 5 - Carroll Gibbons - There’s a small hotel
SL Screen - The Embrace of the Spider
SC Screen - Words of Wisdom
SR Screen - The Embrace of the Spider (Reversed)
OUTSIDE THE ‘PURPLE CAT’ NIGHTCLUB.
0.0 CHRISTINE AND PREDATORY MAN EXIT THE NIGHTCLUB, SHIVER IN THE COLD NIGHT AIR, GATHER THEIR COATS ABOUT THEM AND SET OFF DOWN THE STREET.
CHRISTINE IS A LITTLE DRUNK AND IN BUOYANT MOOD. SHE BREAKS AWAY AND DANCES SOLO IN THE STREET, MOVING IN RATHER UNSTEADY CIRCLES ABOUT HER BEMUSED PARTNER.
0.7
I’d like to get away, honey
Somewhere alone with you.
It could be oh so gay, honey
You need a laugh or two.
PREDATORY MAN INDULGES HER BUT THEN TAKES HER FIRMLY BY THE ARM AND LEADS HER OFF UP THE STREET. THE ‘PURPLE CAT’ NEON LIGHT USL FLICKERS, THEN DIES - JUST AS A RED ‘HOTEL’ SIGN USR FLICKERS ON.
LIGHTING CHANGE TO:-
SOHO STREET - DARK, POORLY LIT AND THREATENING RAIN. DISTANT THUNDER CAN BE HEARD.
0.21
A certain place I know, sweetheart
Where funny people can have fun.
That’s where we too will go, darling
Before you can count a one, two, three four.
THEY REACH THE HOTEL ENTRANCE, UP-STAGE RIGHT. THE RED NEON LIGHT NOW HANGS DIRECTLY ABOVE THEM.
LIGHTING CHANGE - REVEALING SLEAZY HOTEL BEDROOM WITH DOUBLE BED, SHABBY DRESSING TABLE AND WOODEN CHAIR. PALE MOONLIGHT DRIBBLES IN THROUGH (AN UNSEEN) WINDOW ABOVE THE BED. THERE IS AN OVERALL RED GLOW FROM THE NEON SIGN BEYOND THEIR TINY WINDOW.
THEY ENTER THE BEDROOM. CHRISTINE LEANS HEAVILY ON HER COMPANION’S ARM. SHE IS NOW CLEARLY DRUNK AND SINGS ALONG WITH THE MUSIC. HE SHAKES HER, TRYING TO KEEP HER QUIET AS HE REMOVES FIRST HER COAT THEN HIS OWN. HIS MANNER IS CHANGING FROM SUAVE ESCORT TO DETERMINED SEDUCER.
0.42
There’s a small hotel
With a wishing well
I wish that we were there… together.
CHRISTINE IS NOW REALLY DRUNK. SHE SLUMPS ONTO THE BED, FEELING SICK. HE IGNORES HER AND BEGINS TO UNDRESS, THROWING HIS CJACKET ONTO THE BEDSIDE CHAIR.
0.58
There’s no bridal suite,
One room bright and neat
Complete for us to share…together.

The Party’s Over
HE HAULS HER ROUGHLY TO HER FEET AND STARTS TO UNDRESS HER. SHE RECOVERS SLIGHTLY AND BEGINS TO KISS HIM AFFECTIONATELY BUT HE IS NOW MORE INTENT ON REMOVING HER SKIRT AND BLOUSE.
1.13
Looking through the window you
Can see a distant steeple.
Not a sign of people,
Who wants people.
SHE IS NOW IN HER UNDERWEAR. HE PUSHES HER ROUGHLY TO THE BED, REMOVES HIS TROUSERS AND FALLS UPON HER.
1.28
When the steeple bell
Says good night, sleep well
We’ll thank that small hotel… together.
THEY MAKE LOVE BUT SHE DOES SO RELUCTANTLY AND WITH LITTLE EVIDENT PLEASURE.
1.43
Pretty window curtains
Made of chintz
In a make-believe land.
On the wall are several cheerful prints
Of Washington and Cleveland.
HE WITHDRAWS, STANDS AND ADUSTS HIS CLOTHING. CHRISTINE TURNS AND BURIES HER HEAD IN THE SHABBY PILLOWS.
1.56
Go down into the parlour
And feast your eyes
On the moose-head on the wall.
Perhaps you’d like to play the organ,
They tune it every other fall.
HE WATCHES HER WITH DISDAIN AS HE QUICKLY DRESSES. SHE HAS FALLEN ASLEEP, HER BLACK HAIR SPREAD ACROSS THE PILLOW. HER FACE IS VERY PALE IN THE HARSH MOONLIGHT AND GLOW OF THE NEON LAMP BEYOND. HE STARES AT HER WITH ILL-CONCEALED CONTEMPT.
HE IS ABOUT TO LEAVE WHEN HE NOTICES HER HAND BAG ON THE BEDSIDE TABLE. HE OPENS IT AND STEALS HER MONEY.
2.11
The garden will be light,
Adam and Eve land.
No, they never did go in for carriage trade
They get what is known as married trade.
WITH A FINAL LOOK OF CONTEMPT AT THE SLEEPING WOMAN PREDATORY MAN TURNS HIS COAT COLLAR UP AND STEPS OUT INTO THE NIGHT.
2.26
Oh, when the steeple bell
Says goodnight, sleep well
You very small hotel,
We’ll creep into our little shell
And we will thank that small hotel… together.
PREDATORY MAN DISAPPEARS INTO THE SHADOWS OF THE STREET AS LIGHTS (AND SCREENS) FADE ON THE SLEEPING WOMAN.
[Duration - 2.53]
___________________________________________________________________________
SCENE CHANGE - DURING WHICH THE HOTEL BED IS PLACED STAGE CENTRE AND A BRASS BEDHEAD ADDED. AN OVAL, FREE-STANDING MIRROR AND LOW STOOL ARE POSITIONED AT THE END OF THE BED, THE TALL, ROUNDED MIRROR FACING THE AUDIENCE. THERE IS A SMALL, BEDSIDE TABLE ON WHICH IS PLACED A CUP OF COFFEE. A TAILOR’S DUMMY, AS YET UNSEEN, STANDS UPSTAGE LEFT.
_____________________________________________________________________
Scene 6 - Mirror
Track 6 - Diana Ross - Mirror, Mirror
SR Screen - The Trap
CS Screen - Mirror, mirror
SL Screen - The Trap (Reversed)
DREAM SEQUENCE SET IN CHRISTINE’S ELEGANT MAYFAIR BEDROOM - MORNING AFTER HER NIGHT IN THE SEEDY HOTEL. IT IS DARK, FOR THE CURTAINS HAVE NOT YET BEEN DRAWN.
0.0 INSTRUMENTAL INTRODUCTION [12”]
LIGHTS FADE UP SLOWLY TO REVEAL CHRISTINE SEATED ON A LOW STOOL IN FRONT OF A LARGE MIRROR AT THE FOOT OF HER BRASS BED. SHE HAS HER BACK TO US. SHE WEARS BLACK UNDERWEAR AND HIGH HEELS. SHE HAS A CIGARETTE IN HER RIGHT HAND. HER HAIR IS IN A CHIGNON. THERE IS A PEARL NECKLACE ABOUT HER THROAT.
0.12
Mirror, mirror
On the wall
You said you had the answers to it all
You never told me I’d take a fall.
Mirror, mirror
On the wall.
0.25 SHORT INTRUMENTAL BREAK [6”]
DURING THIS MUSICAL BREAK AND THE VERSE THAT FOLLOWS CHRISTINE STANDS, STEPS BACK AND LOOKS AT HERSELF FULL LENGTH IN THE MIRROR, TURNING TO VIEW HER FIGURE FROM ALL SIDES.
SHE IS NOT IMPRESSED AND IS CLEARLY STILL HUNGOVER FROM THE NIGHT BEFORE. SHE TAKES A DRAG ON HER CIGARETTE, WANDERS UPSTAGE TO THE BED, PICKS UP A WHITE SILK ROBE AND SLIPS INTO IT, THEN SITS DEJECTEDLY ON THE EDGE OF THE CRUMPLED BED.
You, you turned my life
Into a paperback novel
Words that come to life
Inside your little melodrama.
SL AND SR SCREENS CHANGE TO Model in Westwood AS CHRISTINE, STILL SEATED ON THE SIDE OF THE BED, PUTS ON HER HIGH HEELS. FOR A MOMENT HER POSITION MATCHES THAT OF THE FRESH YOUNG GIRL (YOUNG CHRISTINE) SHOWN IN THE NEW IMAGES ON SCREENS SL AND SR.
0.48
Chapter one:
When I was young
I came to you with my problems
Chapter two:
You promised me love
And anything that I desired.
CHRISTINE STANDS AND MOVES DOWNSTAGE OF HER BED. HER DANCE HERE IS LIGHT AND GIRLISH, AS IF REMEMBERING HER YOUTH. THE SILK ROBE FLOATS DELIGHTFULLY AND FOR A MOMENT OR TWO SHE TWIRLS (ON POINTS, IF POSSIBLE) IN FRONT OF HER MIRROR - THEN BECOMES DEFLATED ONCE MORE. SHE FINALLY SITS, LIKE A BROKEN DOLL, ON THE LOW STOOL WITH HER BACK TO THE MIRROR.
Tell me, mirror, mirror on the wall
Thought you said you had the answer to it all
You never told me I was gonna take a fall
Tell me mirror, mirror, mirror on the wall.
1.27 SHORT INTSTRUMENTAL BREAK [8”]
SUDDEN LIGHTING CHANGE TO REVEAL (USL) A TAILOR’S DUMMY ON WHICH THERE HANGS CHRISTINE’S BLUE EVENING GOWN.THERE IS A PEARL NECKLACE ROUND THE TORSO’S THROAT
SL AND SR SCREENS CHANGE TO SHOW The Altar of Memory.
INTO THIS NARROW POOL OF LIGHT THERE SUDDELY STEPS PREDATORY MAN.
SLOWLY - AS IF IN A DREAM - HE EMBRACES THE FIGURE WITH ONE HAND, CLASPING IT ROUND THE WAIST. HIS BACK IS TO THE AUDIENCE BUT HIS FACE IS IN PROFILE. THERE IS A CERTAIN MENACE IN HIS LOOK.
DURING THE VERSE THAT FOLLOWS, CHRISTINE STANDS, SEES THE WEIRD VISION, MOVES HESITATINGLY TOWARDS IT THEN RECOILS. SHE RETREATS DOWNSTAGE RIGHT AND CROUCHES ON THE FLOOR, COVERING HER FACE WITH HER HANDS - REMEMBERING PERHAPS THE NEAR RAPE IN THE SEEDY HOTEL THE NIGHT BEFORE.
1.35
You have nailed my heart
Upon the wall
For your pleasure.
You have cast a spell
That can not ever be broken.
And now
My eyes grow tired,
I watch my picture getting older.
But I
Remain the same
Trapped in this mirror for ever.
PREDATORY MAN DISENGAGES SLOWLY FROM THE MANNEQUIN AND MOVES DOWNSTAGE, MOMENTARILY TOWERING ABOVE CHRISTINE NOW HUDDLED ON THE FLOOR. HE THEN EXITS, WITH A DISMISSIVE GESTURE OF HIS HAND. CHRISTINE COLLAPSES FULLY ONTO THE FLOOR - AS IF STRUCK BY A BLOW FROM THE MAN HIMSELF. SHE STARTS TO SOB.
Tell me, mirror, mirror, mirror on the wall
Thought you said you had the answer to it all.
You never told me I was gonna take a fall
Tell me mirror, mirror, mirror on the wall.
DURING THE VERSE THAT FOLLOWS CHRISTINE STANDS AND CROSSES BACK TO THE MIRROR.
SHE IS STILL DISTRAUGHT BUT IS TRYING TO PULL HERSELF BACK TOGETHER AFTER HER BRIEF NIGHTMARE.
SL AND SR SCREENS CHANGE TO Another Kind of Love. AS USUAL WHEN IMAGES ARE REPEATED AS ‘BOOKENDS‘, ONE IS REVERSED. THROUGHOUT THIS SCENE THE SC SCREEN SHOWS Mirror, mirror ONLY.
CHRISTINE SITS ON THE STOOL BEFORE HER MIRROR, PRESSING HER CHEEK AGAINST THE COOL SURFACE OF THE GLASS.
2.33
I talk to you each night
And I follow your advice
You’ve been wrong
What’s the price I have to pay
For this fairy tale thing called love?
2.48
Let me go!
CHRISTINE STANDS, ANGRY AND DEFIANT. HER DANCE HERE IS FULL OF JUMPS AND TURNS - ALL THE WHILE DANCING ‘AT’ THE MIRROR, AS IT WERE.
Tell me, mirror, mirror, mirror on the wall,
Thought you said you had the answers to it all.
You never told me I was gonna take a fall
Tell me mirror, mirror, mirror on the wall.
Mirror, mirror!
3.14 INSTRUMENTAL BREAK [22”]
SLOW LIGHTING CHANGE - UNTIL THE ROOM IS FLOODED WITH WARM MORNING LIGHT, AS IF SOMEONE HAS OPENED THE CURTAINS OF CHRISTINE’S BEDROOM.
DURING THIS MUSICAL BREAK CHRISTINE TEARS HERSELF AWAY FROM THE MIRROR AND BEGINS TO DANCES MORE FREELY, AGAIN ENJOYING THE SENSUAL MOVEMENT OF THE SILK BATHROBE. HER GOOD SPIRITS AND SELF-ESTEEM HAVE RETURNED, GIVING A LIGHTNESS TO HER MOVEMENTS.
IN THE VERSE THAT FOLLOWS CHRISTINE RETURNS TO THE MIRROR, FASTENS HER ROBE, BRIEFLY ADMIRES HER FIGURE, PICKS UP A CUP (OF COFFEE) FROM THE BEDSIDE TABLE AND MOVES DOWNSTAGE RIGHT INTO THE SHAFTS OF MORNING LIGHT.
SHE ENDS BY STARING OUT OF THE WINDOW, IN THE EXACT POSE OF Baby, Bye Bye THAT NOW APPEARS ON SR AND SL SCREENS.
3.37
Tell me, mirror, mirror on the wall
Thought you said you had the answer to it all
You never told me I was gonna take a fall
Tell me mirror, mirror on the wall.
SLOW FADE TO BLACK WITH THE MUSIC.
Tell me mirror…
Tell me mirror…
Duration 4.99
___________________________________________________________________________
SCENE CHANGE - DURING WHICH THE MIRROR, BED, STOOL, TABLE AND MANNEQUIN ARE REMOVED. A WHITE, WOODEN BENCH IS PLACED STAGE CENTRE.
___________________________________________________________________________
Scene 7 - Seaside Outing
Track 7 - The Beatles - Good day Sunshire (2.09)


Today is Rose’s day off. She and her new boyfriend (Lonely Man) are at the seaside, Brighton perhaps. Rose is feeling brilliant - happy, full of the joys of young love and enjoying the sun. The beach and promenade is crowded with other young men and women, flirting, messing about on the sands and generally enjoying themselves.

Rose only has eyes for her young man. Unfortunately, he has eyes for most of the pretty women he sees around him and as the sequence progresses we become aware that this is a very one-sided affaire, doomed to fail. Rose, blissfully unaware, continues to enjoy herself even as her new lover surreptitiously flirts with other women.
The dance style is very early Sixties but with a hint of Cliff Richard’s ghastly film, Summer Holiday with its over-exuberant choreography and ‘youthful’ bonhomie. Nevertheless, it is a great opportunity for the company to show off its collective Twist-come-Lindy-Hop skills.

DAYTIME AT THE BEACH (BRIGHTON, PERHAPS). BRILLIANTLY SUNNY AFTERNOON (LATER TURNING TO SHOWERY). THE BEACH ITSELF AND THE PROMENADE ARE FULL OF PEOPLE, ENJOYING THE WEATHER AND THE SEA. THERE IS A WHITE, WOODEN BENCH SC.
THIS DANCE SEQUENCE IS FOR THE FULL ENSEMBLE - BUT PRINCIPALLY FEATURING ROSE AND HER NEW LOVER (LONELY MAN FROM ‘THE PURPLE CAT‘) ON THEIR DAY OUT TOGETHER. IT IS LIVELY, EXHUBERANT, QUITE SEXY AND ABOVE ALL FUN.
THIS TIME THE SCREENS ARE USED TO SHOW A PRE-RECORDED MOVING COLLAGE (ROSTRUM CAMERA) OF BEACH SCENES BY VETTRIANO - CUT TO THE MUSIC. ALL THREE SCREENS ARE USE SIMULTANEOULSY, GIVING A WIDESCREEN MOVING IMAGE.
AT KEY MOMENTS THE FILM FREEZES, THE DANCERS ALSO FREEZING IN THE EXACT SAME POSE. WHEN THE IMAGE UNFREEZES, THE DANCERS IMMEDIATELY RESUME THEIR ROUTINE. THESE FIXED TABLEAUX HAVE SOMETHING OF A HOLIDAY SNAP OR SEASIDE POSTCARD FEEL ABOUT THEM. SINCE THIS IS A PICTORIAL CONCEIT IT IS ONLY DONE THREE TIMES EARLY ON IN THE SEQUENCE, AS INDICATED BELOW. THEREAFTER, THE DANCE FOLLOWS THE NARRATIVE STRUCTURE AS INDICATED.
Screen Film includes the following paintings, in this order:-
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SCENE CHANGE -
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Scene 8 - MANDY
Track 8 - Tony Bennett - Cold, Cold Heart
MANDY AND RACHMAN
I tried so hard my dear to show
That you’re my every dream
Yet you’re afraid each thing I do
Is just some evil scheme
A memory from your lonesome past
Keeps us so far apart
Why can’t I free your doubtful mind
And melt your cold, cold heart?
Another love before my time
Made your heart sad and blue
And so my heart is paying now
For things I didn’t do
In anger unkind words are said
That makes the teardrops start
Why can’t I free your doubtful mind
And melt your cold, cold heart?
There was a time when I believed
That you belonged to me
But now I know your heart is shackled
To a memory
The more I learn to care for you
The more we drift apart
Why can’t I free your doubtful mind
And melt your cold, cold heart?
Duration 2.36
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SCENE CHANGE -
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Scene 9 - Rachman’s Party
Track 9 - Miles Davis - Splatch
LUXURIOUS MAYFAIR APARTMENT, LONDON. EARLY HOURS OF THE MORNING.
Throughout this scene there runs a video collage on the large screen, cut to the music.
The Vettriano images in this video include:-
Queen of the Fan-Dan; We Can’t tell Right from Wrong; The Master of Ceremonies; The Sparrow and the Hawk; Girl’s Night; Men in White Shirts; Between Darkness and Dawn; Beautiful Losers; Games of Power; How the Web is Woven; Opening Gambit.

Queen of the Fan-Dan
At times the stage action will mirror specific Vettriano images on the large screen, not exactly perhaps but sufficient for an audience to make the visual/narrative connection. These specific images are indicated in the stage directions below.
OPENING [5]
LIGHTS FADE UP TO REVEAL A DECADENT PARTY IN FULL SWING. WE HAVE ENTERED THE SLEAZY WORLD OF CHRISTINE KEELER, STEPHEN WARD AND THE REST (CIRCA 1962).
THE MEN ARE DRESSED IN DINNER JACKETS OR DARK SUITS, ALTHOUGH SOME ARE NOW IN THEIR SHIRT SLEEVES. THE WOMEN ARE EXPENSIVELY DRESSED, MANY IN LONG EVENING GOWNS. SOME OF THE MEN WEAR BLACK, COMMEDIA-DEL-ARTE MASKS. TWO OF THE WOMEN ARE HIGH CLASS PROSTITUES (MANDY AND CHRISTINE), ONE OF WHOM WEARS A RED HALF-MASK.
0.6 THIS ELABORATE SEQUENCE OPENS WITH MOST OF THE GUESTS ON THE DANCE FLOOR (THE EXPENSIVE CARPET HAS BEEN ROLLED BACK FOR THAT PURPOSE). THERE IS A DARK LEATHER SOFA UPSATGE AND A NUMBER OF CHAIRS SCATTERED AROUND THE DANCE AREA. A SMALL TABLE HOLDS A LIGHTED, THREE-PRONGED CANDLESTICK.
ALTHOUGH THE DANCE IS OBVIOUSLY EARLY SIXTIES (THE “TWIST“, FOR EXAMPLE) IT IS A HIGHLY STYILISED AND HAS SOMETHING OF A DREAM QUALITY - AS IF THE PARTICIPANTS WERE TRAPPED IN A SLOW-MOTION NIGHTMARE.
0.25 MENACING MAN ENTERS. HE IS ACCOMPANIED BY A LARGE MAN WHO IS CLEARLY HIS BODYGUARD. THE AUDIENCE SHOULD DEDUCE FROM THIS THAT MENACING MAN IS A GANGSTER OR RACHMAN-LIKE RACKETEER. BOTH RETAIN THEIR TRILBY HATS.
0.35 MANDY AND CHRISTINE AT ONCE LEAVE THE DANCE AND ENGAGE MENACING MAN IN A FLIRTATIOUS MANNER . HE GREETS THEM AFFECTIONATELY - THEY HAVE CLEARLY MET BEFORE. ONE OF THE GIRLS TAKES A CANDLEABRA FROM A NEARBY TABLE AND LIGHTS HIS CIGARETTE [Queen of the Fan-Dan].
THE HOST (A TALL, HANDSOME MAN - PERHAPS STEPHEN WARD) ALSO GREETS THE NEW ARRIVAL AND HANDS HIM A GLASS OF CHAMPAGNE.
MENACING MAN AND HIS TWO FEMALE COMPANIONS DRIFT TO THE FAR SIDE OF THE ROOM WHERE THEY ARE GREETED BY OTHER GUESTS. THE HOST WATCHES THEM, LOST IN THOUGHT, AND THEN LIGHTS HIS OWN CIGARETTE. HE APPEARS SOMEWHAT ISOLATED FROM HIS GUESTS, MOST OF WHO CONTINUE TO CAVORT ON THE DANCE FLOOR.
0.54 [BRASS FANFARES - REPEATED].
SAD WOMAN ENTERS. SHE IS ALONE. SHE IS DRESSED IN A STUNNING WHITE YVES SAINT LAURENT EVENING GOWN [See Shades of Scarlett]. THE HOST IMMEDIATELY CROSSES TO HER, KISSES HER AFFECTIONATELY AND ESCOURTS HER TO THE SOFA.
OTHERS, MOSTLY MEN, GREET HER AND HOVER LIKE MOTHS AROUND THE SOFA WHERE SHE NOW SITS - THE NEW MAIN ATTRACTION OF THE EVENING. THE HOST SIGNALS TO A WAITER WHO QUICKLY RETURNS WITH A GLASS OF CHAMPAGNE.
THE SMALL GROUP OF WOMEN, MOMENTARILY ABANDONED BY THEIR MALE COMPANIONS, CONTINUE TO DANCE TOGETHER.
1.12 [BRASS FANFARES - REPEATED]
MANDY AND CHRISTINE TRY TO PERSUADE MENACING MAN TO DANCE, HALF DRAGGING HIM ONTO THE DANCE AREA. HE GETS ANGY AND ROUGHLY PUSHES THEM ASIDE. THE TWO GIRLS, TO COVER THEIR EMBARRASSMENT, TAKE STAGE CENTRE AND BEGIN TO DANCE IN A SEXY, PROVOCATIVE MANNER.
SOME OF THE MEN DRIFT BACK TO THE DANCE AREA AND OFFER RAUCOUS ENCOURAGEMENT.
1.32 URGED ON BY THE CROWD, THE TWO GIRLS START TO PERFORM AN ELABORATE, QUASI-LESBIAN STRIPTEASE. THIS IS WATCHED BY SAD WOMAN AND THE HOST FROM ONE SIDE OF THE STAGE. THE AUDIENCE SHOULD SEE THAT THE HOST HAS HIS ARM ROUND THE WOMAN’S WAIST.
DURING THIS SEQUENCE THE TWO PROSTITUTES STRIP TO THEIR UNDERWARE. THESE GIRLS ARE PROFESSIONAL NIGHCLUB DANCERS SO THEIR ROUTINE IS BOTH SEXY AND POLISHED. THEIR AUDIENCE, NOW FORMING A TIGHT CIRLE ROUND THE TWO GIRLS, IS BECOMING INCREASINGLY AROUSED.
2.00 [SYNCOPATED RHYTHM AND TRUMPET]
TWO MEN NOW JOIN IN, TAKING A GIRL EACH. WHAT FOLLOWS IS AN INTRICATE (DOUBLE) DUET IN WHICH THE
2.39 DANCE RESUMES
2.58 SECOND FANFARES
3.13 TRUMPET SOLO LINK
3.57 XYLOPHONE
4.15 TRUMPET TO FADE OUT
4.25 LIGHTS FADE WITH MUSIC
[Duration - 4.40]
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SCENE CHANGE -
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Scene 10 - Mandy’s Blues
Track 10 - Miles Davis - Blue in Green (instrumental) (5.38)
This is, in effect, a reprise of Mandy’s rather sad life.
She begins as a vibrant young woman who turns to prostitution, working the streets of London’s Soho. She thrives and eventually becomes a successful call girl, the one-time mistress of a local Gangster (Peter Rachman, wealthy landlord and racketeer). She becomes rich and has a string of wealthy clients who vie for her attention. She wears expensive jewellery and furs. Ineluctably, her Pimp (Stephen Ward) turns her into a drug addict. She slides into drug and alcohol dependency, loses her rich clients and ends up back on the streets where she began.
Despite the sombre arc of this narrative, Mandy is a lively, likeable young woman, full of fun and spirit. When up she is the life and soul of the party; when down she is lonely and vulnerable but never without dignity. She is modelled on the real Mandy Rice Davis.
The music (Miles Davis) falls into five distinct sections (excluding short piano prologue and finale), each one representing a different phase in Mandy’s professional life.
This is a slow, technically demanding solo sequence for the dancer playing Mandy. There are some supporting dancers in the background but this is a reflective piece in which Mandy re-enacts the arc of her career as a successful prostitute. The focus is resolutely on her throughout this emotive sequence.
Piano Prologue
Trumpet solo 2 Phase 1
Piano solo 1 Phase 2
Saxophone solo Phase 3
Piano solo 2 Phase 4
Trumpet solo 2 Phase 5
Piano Finale
Scene 11 - Rose’s Break for Freedom
Track 11 -
Scene 12 - Round Midnight
Track 12 - Ella Fitzgerald - Round Midnight
DANCE SEQUENCE (“THE LETTER“) IN WHICH CHRISTINE DREAMS OF HER RECENT LOVER WITH WHOM SHE HAS FALLEN OUT. IT CONSISTS OF A GHOSTLY DUET - STRANGE, DREAMLIKE AND VERY SAD.
GIVEN THE RIGHT TECHNOLOGY, THE MALE LOVER COULD BE A HOLOGRAPHIC PROJECTION. FAILING THAT, A LIVE DANCER BUT LIT IN SUCH A WAY THAT HE APPEARS AS A GHOST WITH WHOM SHE NEVER QUITE MAKES PHYSICAL CONTACT, EVEN THOUGH THEY APPEAR TO DANCE IN EACH OTHER’S ARMS.

The Letter
THE SCENE OPENS (AS IN THE ABOVE PAINTING) WITH CHRISTINE LYING ON A DIVAN IN HER APARTMENT. SHE IS STILL WEARING AN EXPENSIVE EVENING GOWN. SHE HAS BEEN READING A LETTER. THE LETTER IS IN ONE TRAILING HAND AND A CIGARETTE IN THE OTHER. SHE IS LOST IN HER OWN THOUGHTS AND CLEARLY LOW AND DEJECTED.
0.0
It begins to tell
‘Round midnight, midnight.
I do pretty well, till after sundown,
Suppertime I’m feeling sad;
But it really gets bad
‘Round midnight.
0.40
Memories always start ‘round midnight
Have not got the heart to stand those memories,
When my heart is still with you,
And old midnight knows it, too.
1.18
When a quarrel we had needs mending,
Does it mean that our love is ending?
1.38
Darling I need you, lately I find
You’re out of my heart,
And I’m out of my mind.
1.59
Let our hearts take wings
Round midnight, midnight.
Let the angels sing
For your returning.
Till our love is safe and sound.
And old midnight comes around.
2.40
Feeling sad,
Really gets bad
Round…round…round…mid…night.
[Duration: 3.26]
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SCENE CHANGE -
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Finale
Track 13 - Whitney Houston - One Moment in Time
This is the finale for the three main characters - Christine, Mandy and Rose. In fact, it is the only time all three dance together consciously.
This is their anthem - a triumphant hymn to overcoming adversity, disappointment and betrayal. Although we last saw Mandy in the depths of drug abuse and rejection by her erstwhile lovers, here she joins her sisters in adversity and celebrates independence, determination and sheer guts in the face of a shitty world that abuses and exploits women.
Although each retain their characteristic dance styles at the start of this dance sequence, they eventually merge in what ends up a close harmony trio - buoyant, confident and triumphant.. They have all three earned their ’one moment in time’.
Large Screen -
DSL Screen -
DSR Screen -
0.0 INSTRUMENTAL OPENING [14 ]
0.15
Each day I live
I want to be
A day to give
The best of me.
I’m only one
But not alone,
My finest day
Is yet unknown.
0.39
I broke my heart
For every gain.
To taste the sweet
I faced the pain.
I rise and fall
Yet through it all
This much remains.
1.00
I want one moment in time
When I’m more than I thought I could be,
When all of my dreams are a heartbeat away
And the answers are all up to me.
1.25
Give me one moment in time
When I’m racing with destiny
Then in that one moment of time
I will feel…
I will feel eternity.
1.58
I’ve lived to be
The very best.
I want it all
No time for less.
I’ve laid the plans
Now, lay the chance
Here in my hands.
2.18
Give me one moment in time
When I’m more than I thought I could be,
When all of my dreams are a heartbeat away
And the answers are all up to me.
2.43
Give me one moment in time
When I’m racing with destiny
Then in that one moment of time
I will feel…
I will feel eternity.
3.28 CURTAIN CALL (TRUMPETS)
Give me one moment in time
When I’m more than I thought I could be,
When all of my dreams are a heartbeat away
And the answers are all up to me.
Give me one moment in time
When I’m racing with destiny
Then in that one moment of time
I will be…
I will be.. I will be free…
I will be, I will be free!
[Duration 4.41]
FINAL CURTAIN. FADE LIGHTS TO BLACK
THE END
Total Duration of the Show - 45 minutes.
© Mike Healey 2005
Draft set design by Mike Healey
