Analysis Of An Octoroon

During the first half of the play, I did not really notice the lights except during the scene transitions. The main reason I did not notice them is because their job during the early parts of the play were to establish the location. We were in a standard basement that had one window above the stairs, so most of the light in the room had to be coming from an artificial source, most likely a lightbulb.

The set consisted of separate panels made to look like the walls of a subway station, as well as stairs on either end of the stage and benches for the characters to sit on. There was an immense amount of detail in it, with the walls graffitied onto as if it were actually part of a subway. The costumes were reflective of the characters’ backgrounds. For example, the lawyer, the businessman and woman, and the professor all wore suits, as to indicate their professionalism. On the other hand, the homeless girl wore dirty clothing, reflecting her state before her death. The lighting in the play helped create the atmosphere of being in a subway underground. It came from different parts of the set, including the sides, with some of the lights being different colors, which gave it some variety. As a whole, sound was not particularly prominent in the production. At the beginning and the end, there is the sound of a train, as to indicate its departure and arrival. Additionally, there was also a sound queue with the conductor calling out, but it was barely audible due to a technical error. No special effects were implemented in the

The technical aspects of the production such as scenery, properties and costumes also played a keynote in the productions success. The scenery was fabulous it truly made the play. It was very realistic and extremely vibrant. Almost the entire play was performed in one setting, except for the railcar and dance scenes. The house, the main setting, was magnificent with painstakingly placed detail in every corner. All elements in the house matched wonderfully, for example the furniture, the photos on the wall, the telephone and even the trash can. Little bits of detail were everywhere adding to the beautification of the set, for example the lace decorations on the chairs, the etched glass above the front door and even the Christmas tree.

Each element gave the stage a different feel that matched every scene , complementing each brilliantly. The only element that lacked for me was lights, although very bright ; in my opinion the reoccurring blue wasn't the best option. I feel if the lighting designer would have had more warmer colored lights against the already vibrant set pieces, it would have made the stage pop more. But one thing i did particularly fancy, were the costumes the characters wore and how they fit each character. Each character's’ costume showed the dichotomy between the personalities and tastes of each individual. For example Ilona played by Jane Krakowski was dressed in a scarlet / pinkish dress with a high slit up the left side; showing her seductive character type. Meaning when i saw Ilona on stage, I immediately knew who i was looking at . Lastly the sound effects included , like the door jingle sound or The bike bell , added to the whole idea of being inside and outside of a retail building. These effects gave the stage an outdoorsy feel , drawing you in , giving the audience illusions of really being in 1930’s

Ellison illustrates the social injustices the black community endures through the characterization of the audience in the theater and their attitudes towards the protagonist in order to display the inexcusable treatment African Americans “accept” in their daily lives. Ellison’s use of diction depicts the white structure through words conveying the message of a higher power. The protagonist sees “(...) the white beam filtered from the projection room above the balcony,” which gives the illusion that the white power structure controls the bingo wheel (252). Consequently, as he feels that he is on the stage by himself with no perception of reality, he feels a sensation of alienation and isolation that “felt right” in his nature. As the protagonist steps on the stage, the audience responds to his presence by talking down to him which includes being called “boy” by the man with the microphone. Although he grins at the “man’s jive talk,” he feels

And the picture of you that was out front with all the casting actors, wow you looked gorgeous! Once again I was extremely impressed by the stage design. The back Catholic Church wall was such an amazing structure. The paint and texture that was used to build the wall, gave off the appearance of a real stone wall. The wall design was flawless, and the size and scale it in which it was done in is astounding! Ms. Livingstone office was also well placed; it kept a focus point to the center of the room. The decision to go with a see through glass desk and small offices chairs allow the stage space to seem larger and didn’t block or hide when the actors sat down or walked around the desk. The area with the steps that lead to Mother Ruth desk was also well crafted, but I felt it was not utilized enough. It was barley used and wasn’t sure if it was Mother Ruth office or apart of the church altar. The church pew was a nice addition as well. I was also really impressed with the lighting effects, especially from the church windows. I first thought the stained glassed windows were fixed lights that couldn’t be changed, but once Livingstone took center stage and began to speak the colors changed to a red color (I think). When that happened it felt like the world froze in place while she spoke, and resuming when the light turned back to a bright morning light. I also liked how the lights would change throughout the play to set a different mood. For example, when Ms. Livingstone was hypnotizing Agnes, she told Agnes to imagine herself being in water all of the sudden the room color was

I know that it is a small stage so you couldn’t do much to it, but I wish they at least put up an actual door instead of a pretend door so that you could distinguish between houses. In the end I really did like the play because it kept me interested and wondering on what was going to happen next. My boyfriend came to the first half of the play, but then had to go to class for the second half. Since the ending caught me so off guard I had to tell him what happened in the second half. The play was like a delicious dessert that you could not just stop halfway in; you have to keep enjoying it until the very end.

the play are ―rich symbol[s]‖ that convey the barriers of a ―racist society‖ (Kenny par. 18). The

The set was bland and minimalistic, this improved the effect of the performance because it placed emphasis more on how ‘the imagination is a prop’ and you don’t need a fancy set to make a good performance. It also emphasised the large wooden door that was always on set and never moved, making the audience curious of what was behind it. I believe the door was a symbol for when everything went wrong for Kipps, which is why it was so prominent in the performance. This symbolism stressed the curiosity and confusion of Kipps. The use of fog in the marsh scene also reflected a sense of uneasiness and confusion, sharing the feelings of the characters with the

The light was clear and soft. When there was morning in the play, the light was yellow and bright. However, when there was night shown the lights were dark, but clear to see all the actors. The light could appear in some part and disappear in other. Also, the light was slowly and soft moving from morning light to night light. As for the sound, it was soft. Everything was heard well, and there were no sound defects. The sound effects were also good. In the play there could be heard shots in the part of the war. Also, there was a part with coach when Roxane came, and there was heard the horses and moving coach.

It established the transition from reality to fairytale and set the mood of many of the fairytales. It supported many of the choices that were made on stage but didn't overshadow anything that was happening. The lighting design also did an excellent job of being a support to the show, not a distraction. It also helped establish transitions and mood, but did nothing to distract from the telling of the story.

The lighting of any production is the most important part in my thought. the lighting puts you in the mood that you have to be in, in order to fully understand that part of the show and to actually live it like they do. For example, when they were in the park and it was raining, they had their umbrellas, and the background effects of rain made it really seem as if it was raining in the theatre. The lighting was always focused on every part of the stage, especially on those who were the main parts in that scene.

Throughout the play, I enjoyed the role of music used to set a comic atmosphere and replace the dialogs during comic scenes (e.g. when they chase each other around). I also thought that they made a good use of light to indicate the moment of the day the scene was happening or to set the atmosphere of the scene (e.g. pink colour during the romantic moments). Lastly, I liked the way the play ended. Even though it was a little messy with everyone running after each other off and on stage, and this policeman coming out of nowhere, which really surprised me; I couldn’t think of a better way to end the play.

The Octoroon, classified as a slavery play, is a drama by Don Boucicault, that was performed by Queens College students and directed by professionals from the theater industry was a drama of a plantation life in Louisiana and miscegenation back in the day. The script for this play is divided into five acts and performed in two and half hours. Light turns on, and the first scene setting is a view of the plantation Terrebonne, during an unspecified year. Perhaps a time of slavery, Pre-civil war. Giving its audience a feel of the south, mainly Mississippi is seen winding through the Estate. The set is of its true authenticity, giving its viewers a trip down south. The right side of the stage has tables and chairs and the left side has a low-built planter dwelling, surrounded by an open space. In this sequence most of the main characters are introduced; Zoe, George Peyton, Jacob M’Closky, Pete, Dora and the many slaves. All the characters are dressed their part, which is what gives the audience members a truly authentic vibe.

The distinction of race in the very first line of the play indicates Branden Jacobs-Jenkins (behind the persona of BJJ) seeks to expose his own experience as a Black man through the context of The Octoroon. Through BJJ, we learn that Jacobs-Jenkins admires Boucicault and his work, but notes that “no one cares about [Boucicault] anymore. He’s dead” (8). Immediately, An Octoroon begins to examine the role of Boucicault in his work and his role in the American theatrical canon at large. The closeness to the audience in these moments contrast directly to Boucicault’s distance in The Octoroon; Jacobs-Jenkins confides in the audience, as he says “You people are my therapy” (9) directly to those watching the action on stage. His confessions alert the audience to the work as a piece of theatre. Jacobs-Jenkins work does not attempt to erase theatricality, unlike Boucicault, who forsakes theatricality for a constructed realism. Because the audience understands the story outside suspension of reality, the text provides a better examination of The Octoroon through modern eyes. As the narrative begins and the prologue closes, the audience possesses an awareness of the original text through the eyes of BJJ. This places the story in a context of critical study and examination from the inception of the adaptation and affects all aspects of dramaturgy