Identify lighting cues and sound cues in this scene below and list all the mentioned clothes
Cecily. Pray do! I think that whenever one has anything unpleasant to say,
one should always be quite candid.
Gwendolen. Well, to speak with perfect candour, Cecily, I wish that you
were fully forty-two, and more than usually plain for your age. Ernest has a
strong upright nature. He is the very soul of truth and honour. Disloyalty
would be as impossible to him as deception. But even men of the noblest
possible moral character are extremely susceptible to the influence of the
physical charms of others. Modern, no less than Ancient History, supplies us
with many most painful examples of what I refer to. If it were not so,
indeed, History would be quite unreadable.
Cecily. I beg your pardon, Gwendolen, did you say Ernest?
Gwendolen. Yes.
Cecily. Oh, but it is not Mr. Ernest Worthing who is my guardian. It is his
brother—his elder brother.
Gwendolen. [Sitting down again.] Ernest never mentioned to me that he
had a brother.
Cecily. I am sorry to say they have not been on good terms for a long time.
Gwendolen. Ah! that accounts for it. And now that I think of it I have never
heard any man mention his brother. The subject seems distasteful to most
men. Cecily, you have lifted a load from my mind. I was growing almost
anxious. It would have been terrible if any cloud had come across a
friendship like ours, would it not? Of course you are quite, quite sure that it
is not Mr. Ernest Worthing who is your guardian?
Cecily. Quite sure. [A pause.] In fact, I am going to be his.
Gwendolen. [Inquiringly.] I beg your pardon?
Cecily. [Rather shy and confidingly.] Dearest Gwendolen, there is no reason
why I should make a secret of it to you. Our little county newspaper is sure
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to chronicle the fact next week. Mr. Ernest Worthing and I are engaged to
be married.
Gwendolen. [Quite politely, rising.] My darling Cecily, I think there must be
some slight error. Mr. Ernest Worthing is engaged to me. The
announcement will appear in the Morning Post on Saturday at the latest.
Cecily. [Very politely, rising.] I am afraid you must be under some
misconception. Ernest proposed to me exactly ten minutes ago. [Shows
diary.]
Gwendolen. [Examines diary through her lorgnettte carefully.] It is
certainly very curious, for he asked me to be his wife yesterday afternoon at
5.30. If you would care to verify the incident, pray do so. [Produces diary of
her own.] I never travel without my diary. One should always have
something sensational to read in the train. I am so sorry, dear Cecily, if it is
any disappointment to you, but I am afraid I have the prior claim.
Cecily. It would distress me more than I can tell you, dear Gwendolen, if it
caused you any physical anguish, but I feel bound to point out
that since Ernest proposed to you he clearly has changed his mind.
Gwendolen. [Meditatively.] If the poor fellow has been entrapped into any
foolish promise I shall consider it my duty to rescue him at once, and with a
firm hand.
Cecily. [Thoughtfully and sadly.] Whatever unfortunate entanglement my
dear boy may have got into, I will never reproach him with it after we are
married.
Gwendolen. Do you allude to me, Miss Cardew, as an entanglement? You
are presumptuous. On an occasion of this kind it becomes more than a
moral duty to speak one’s mind. It becomes a pleasure.
Cecily. Do you suggest, Miss Fairfax, that I entrapped Ernest into an
engagement? How dare you? This is no time for wearing the shallow mask
of manners. When I see a I call it a.
Gwendolen. [Satirically.] I am glad to say that I have never seen a. It
is obvious that our social spheres have been widely different.
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[Enter Merriman, followed by the footman. He carries a salver, table cloth,
and plate stand. Cecily is about to retort. The presence of the workers
exercises a restraining influence, under which both girls chafe.]
Merriman. Shall I lay tea here as usual, Miss?
Cecily. [Sternly, in a calm voice.] Yes, as usual. [Merriman begins to clear
table and lay cloth. A long pause. Cecily and Gwendolen glare at each
other.]
Gwendolen. Are there many interesting walks in the vicinity, Miss Cardew?
Cecily. Oh! yes! a great many. From the top of one of the hills quite close
one can see five counties.
Gwendolen. Five counties! I don’t think I should like that; I hate crowds.
Cecily. [Sweetly.] I suppose that is why you live in town? [Gwendolen bites
her lip, and beats her foot nervously with her parasol.]
Gwendolen. [Looking round.] Quite a well-kept garden this is, Miss Cardew.
Cecily. So glad you like it, Miss Fairfax.
Gwendolen. I had no idea there were any flowers in the country.
Cecily. Oh, flowers are as common here, Miss Fairfax, as people are in
London.
Gwendolen. Personally I cannot understand how anybody manages to exist
in the country, if anybody who is anybody does. The country always bores
me to death.
Cecily. Ah! This is what the newspapers call agricultural depression, is it
not? I believe the aristocracy are suffering very much from it just at
present. It is almost an epidemic amongst them, I have been told. May I
offer you some tea, Miss Fairfax?
Gwendolen. [With elaborate politeness.] Thank you. [Aside.] Detestable
girl! But I require tea!
Cecily. [Sweetly.] Sugar?
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Gwendolen. [Superciliously.] No, thank you. Sugar is not fashionable any
more. [Cecily looks angrily at her, takes up the tongs and puts four lumps of
sugar into the cup.]
Cecily. [Severely.] Cake or bread and butter?
Gwendolen. [In a bored manner.] Bread and butter, please. Cake is rarely
seen at the best houses nowadays.
Cecily. [Cuts a very large slice of cake, and puts it on the tray.] Hand that to
Miss Fairfax.
[Merriman does so, and goes out with footman. Gwendolen drinks the tea
and makes a grimace. Puts down cup at once, reaches out her hand to the
bread and butter, looks at it, and finds it is cake. Rises in indignation.]
Gwendolen. You have filled my tea with lumps of sugar, and though I asked
most distinctly for bread and butter, you have given me cake. I am known
for the gentleness of my disposition, and the extraordinary sweetness of my
nature, but I warn you, Miss Cardew, you may go too far.
Cecily. [Rising.] To save my poor, innocent, trusting boy from the
machinations of any other girl there are no lengths to which I would not go.
Gwendolen. From the moment I saw you I distrusted you. I felt that you
were false and deceitful. I am never deceived in such matters. My first
impressions of people are invariably right.
Cecily. It seems to me, Miss Fairfax, that I am on your valuable
time. No doubt you have many other calls of a similar character to make in
the neighbourhood.
[Enter Jack.]
Gwendolen. [Catching sight of him.] Ernest! My own Ernest!
Jack. Gwendolen! Darling! [Offers to kiss her.]
Gwendolen. [Draws back.] A moment! May I ask if you are engaged to be
married to this young lady? [Points to Cecily.]
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Jack. [Laughing.] To dear little Cecily! Of course not! What could have put
such an idea into your pretty little head?
Gwendolen. Thank you. You may! [Offers her cheek.]
Cecily. [Very sweetly.] I knew there must be some misunderstanding, Miss
Fairfax. The gentleman whose arm is at present round your waist is my
guardian, Mr. John Worthing.
Gwendolen. I beg your pardon?
Cecily. This is Uncle Jack.
Gwendolen. [Receding.] Jack! Oh!
[Enter Algernon.]
Cecily. Here is Ernest.
Algernon. [Goes straight over to Cecily without noticing any one else.] My
own love! [Offers to kiss her.]
Cecily. [Drawing back.] A moment, Ernest! May I ask you—are you
engaged to be married to this young lady?
Algernon. [Looking round.] To what young lady? Good
heavens! Gwendolen!
Cecily. Yes! to good heavens, Gwendolen, I mean to Gwendolen.
Algernon. [Laughing.] Of course not! What could have put such an idea
into your pretty little head?
Cecily. Thank you. [Presenting her cheek to be kissed.] You
may. [Algernon kisses her.]
Gwendolen. I felt there was some slight error, Miss Cardew. The gentleman
who is now embracing you is my cousin, Mr. Algernon Moncrieff.
Cecily. [Breaking away from Algernon.] Algernon Moncrieff! Oh! [The two
girls move towards each other and put their arms round each other’s waists
as if for protection.]
Lighting cues:
- As the scene begins, there is likely a general, evenly-lit setting.
- During the tense moments between Cecily and Gwendolen, the lighting may become slightly dimmer or focused on the two characters to create a more dramatic effect.
- When Jack and Algernon enter, the lighting may shift to focus on them, indicating their presence and the change in the scene.
Sound cues:
- The scene starts with dialogue, so there may not be any explicit sound cues.
- However, there may be subtle background sounds, such as the rustling of tea cups and saucers or the footsteps of Merriman and the footman as they enter and exit.
Clothes mentioned:
- No specific clothes are mentioned in this scene.
Lighting cues:
- The scene takes place during the day, as there is a mention of the newspaper being read in the train.
- No specific lighting cues are mentioned in the scene.
Sound cues:
- The scene is set in a garden, so there may be sounds of nature such as birds chirping or leaves rustling.
- There is the sound of Merriman and the footman entering and setting up a table for tea.
- There may be a pause in the sound when the two girls glare at each other.
- When Gwendolen bites her lip and beats her foot nervously, there may be a sound effect to represent her nervousness.
- There may be a sound effect to represent the tea being poured and drunk.
- Gwendolen makes a grimace after drinking the tea, indicating a disapproval of the taste.
- There may be a sound effect to represent the cake being cut and the bread and butter being served.
- Gwendolen expresses her anger and warns Miss Cardew that she may go too far, which may be accompanied by a stern sound effect or music cue.
- When Jack enters, there may be a sound effect to represent his surprise or excitement.
- Gwendolen exclaims "Ernest! My own Ernest!" which may be accompanied by a romantic or joyful sound effect.
- Cecily reveals that Jack is her guardian, and Gwendolen reacts with surprise, which may be accompanied by a sound effect or music cue.
- When Algernon enters, there may be a sound effect to represent his arrival.
- Algernon goes straight to Cecily and addresses her as "My own love," which may be accompanied by a romantic or affectionate sound effect.
- When Cecily breaks away from Algernon and realizes his identity, there may be a sound effect to represent her shock or realization.
- The two girls put their arms around each other's waists for protection, which may be accompanied by a sound effect or music cue.
Clothing mentioned:
- It is not explicitly mentioned in the scene what clothes the characters are wearing.
To identify lighting cues and sound cues in the scene, you would need a video or live performance of the scene to observe the specific lighting and sound design choices made by the director and production team. Lighting cues may include changes in intensity, color, or direction of the lights to create different moods or highlight specific actions or characters. Sound cues may include background music, sound effects, or changes in volume or tone to enhance the atmosphere or support the action on stage.
As for the mentioned clothes in the scene, there is no specific mention of clothes in the given text.