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Shaw, O'Neill, Barrie
Posted by: AlanScott 06:39 pm EST 12/20/15
In reply to: re: Stage directions - StageDoorJohnny 05:33 am EST 12/20/15
It's generally clear with such authors as Shaw, O'Neill and Barrie that the stage directions come from them. They often go far beyond simple descriptions of sets in terms of where, say, the fireplace should be in relation to the door to the hallway and the door to the study, into . . . well, I don't have to tell any of you the kinds of things you find in their stage directions.

I remember someone, maybe Mordden, talking about how Mielziner got huge praise for his scenic effects for Me and Juliet, and some of the critics seemed to think that the ideas came from him. The ideas came from Hammerstein. Mielziner made them happen onstage, but they were in Hammerstein's head first.

Unfortunately, of course, they were the best things about that particular show.

Some of the lawsuits in recent years have seemed a tad odd to me given the history of acting editions. Not all of them, but that Love! Valour! Compassion! suit seemed odd to me given that for so long it was common for acting editions to include not only detailed stage directions based on what was done in the original production but even floor plans and prop lists. Certainly the message given for decades was that it was not only OK to copy a Broadway or London production, it was expected. Things have changed, but it's not surprising that the director in Florida (Michael Hall, not the actor) may well have thought that it was perfectly fine for him to borrow ideas used in Mantello's production.

I don't have a copy of the licensed script, but the lawyer quoted in the linked article says that the elements over which Mantello sued were in the licensed script. I'd guess that they no longer are in the licensed script. I think Manello's beef should have been with McNally and Dramatists, not with Hall and the Caldwell
Link Settled out of court
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Previous: re: Stage directions - StageDoorJohnny 05:33 am EST 12/20/15
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