Miseryguts

The Misanthrope is widely held to be Molière’s finest work. No small praise for the author of Le Malade imaginaire and Tartuffe. Perhaps the reason lies as John Wood asserts in The Misanthrope and Other Plays that it’s a “very deliberate comic masterpiece” but one that “pushes the boundaries so far that it slips into the realm of tragedy.” Or perhaps it’s simply because his protagonist is so damn timeless and recognizable.

A ‘Miseryguts’ for whom all the world’s inhabitants are sycophantic, ingratiating, social climbing idiots incapable of telling each other the truth.

A man who’s happier to damage himself, even ostracise himself from society, rather than compromise his integrity. Molière’s great comedies have always translated very well into Scots and this one is no exception. Scotland’s Makar Liz Lochhead, whose adaptation of Tartuffe has enjoyed legendary status for nearly two decades, once again blazes a particularly Scottish, thoroughly modern trail through one of the great man’s angst ridden, painfully honest and truly funny masterpieces.

Creative Team

Writer - Liz Lochhead

Director - Tony Cownie

Designer (Set and Costume) - Rachel MacAllan

Lighting Designer - Oliver Gorman

Sound Designer - Greame Brown

Production Team

• Production Manager - Sandy McRobbie

• Stage Manager - Ashley Kerray
• Technical Stage Manager - Andrew McCabe

• Deputy Stage Manager - Natalie Wilson
• Deputy Technical Stage Manager - Ian Smyth

• Assistant Stage Manager (Book Cover) - Chrissie Huxford
• Assistant Stage Manager - Siobhan Scott
• Assistant Stage Manager (Rehearsals)- Eve Kerr

• Chief Production Electrician - Elleanor Taylor
• Deputy Production Electrician - Shannon Howard

• Lighting Programmer/Operator - Stuart Lord
• Stage Electricians - Mary Crook, Laura Dougan

• Sound No.1 Live Mix - Graeme Brown
• Sound No.2 Recording Mix - Maciej Kopka

Lighting

Special Elements

The bay windows, in act four, had a back drop of an Edinburgh skyline printed and attached to the back of the bay window. This was then required to be lit. The way it was decided, was to use four dimmable linolit slimlite 221mm un-switched holders, and four striplite 240v 60w221mm Opal lamps. These were sourced from 'CP Lighting'.

Example of what the linolits looked like and the bay window:

The linolits were wired by the use of a choc block. With two linolits to one choc block then onto a 15amp plug. These were then cabled off stage. A basic drawing of this wiring is shown below.

The linolits were then attached to the underside of the top of the bay windows. A break down of where the linolits were positioned in the window can be seen below.

It is important to note that the beam of these linolits was not that strong and looked like a sunset in the window. After it was installed it was later cut because of this effect.

Technical Stage Management

Set

Miseryguts had a very basic set, in the sense that, once it was up, it did not need much work from the TSM department. It consisted of two large white walls that ran diagonally across the stage.

One of the walls had a set of double doors that changed into a bay window. These could both be covered by a large set of red curtains. The other, larger, wall consisted of two different doors that could be in turn covered or revealed by the 'turning flat' that pivoted in the middle of the flat. This wall was also covered in large paintings to make it look like an art gallery.

The floor was simple sheets of MDF painted grey to look like concrete and with a pattern cut into the front to break up the front of stage line.