Category: Plays

Goodnight, Captain White

On By markstevickIn PlaysLeave a comment

a two-act comedy / interactive murder mystery with multiple endings – script available for producing

at Giordano’s Starlite Dinner Theater, featuring comedian Pete Holmes

Here’s a 90-minute, two-act comedy for six actors (3 m, 3 f) which can be interactive (in the mode of The Mystery of Edwin Drood and Shear Madness), perfect for dinner, community, regional and high school theatres, even Off-Off Broadway. There are five possible endings.

Interested in producing Goodnight, Captain White? I’d love to make it easy for you. Download the script here, and email me at mark dot stevick at gordon dot edu to talk details.

Goodnight, Captain White horizontal scriptDownload

CHARACTERS
Lavinnia Beckford – The Captain’s niece and housekeeper. 40s-60s.
Abigail Knapp – Lavinnia’s daughter, the Captain’s grand niece. 20s-30s.
Frank Knapp – Abigail’s husband, the Captain’s former employee. 20s-30s.
Richard Crowninshield – Dangerous outlaw type. 20s-30s.            
Penelope Muchmore – Amorous harlot type. 20s-30s.                                   
Sen. Daniel Webster – Under cover as hired help; during the play he is mistaken for the manservant, Benjamin, and is wrongly thought to be deaf. 30s-50s. [also briefly plays Captain White – 82-year-old, wealthy sea captain – 2 lines]

SETTING
The library of the Captain’s house in Salem, Massachusetts.

TIME
Spring evening, 1830.

SYNOPSIS
Old, wealthy Captain White throws a party at his seaside mansion to which the citizens of Salem are invited. During the evening, a motley group happens into the library: the Captain’s niece and imperious housekeeper Lavinnia Beckford; her disaffected daughter Abigail Knapp; and Abby’s feckless husband Frank—along with two seeming outsiders, the enterprising Richard Crowninshield and the amorous Penelope Muchmore.

The Captain retires to change his shoes (too much dancing) and never returns to bid goodnight. It quickly becomes clear that the five in the library have good reason to resent the old man and are busily scheming to acquire his fabulous estate. The Captain must die intestate (without a will).

The five machinate with increasing agitation under the anxious eye of a sham serving man—who is really a detective in a clumsy disguise (doubles Captain White). When, at the end of Act One, the Captain is murdered, the serving man reveals himself to be Massachusetts Senator Daniel Webster (replete with whiskey). Webster appoints an audience member as deputy; then he and the audience reconstruct the suspects’ movements and assess their motives. The final outcome of the play (there are five possible endings) can be determined by the audience’s vote.

The play may also be performed without audience involvement, using the ending of the director’s choice.

pics from various Goodnight, Catpain White productions

A HISTORICAL NOTE
Goodnight, Captain White was inspired by a notorious murder that occurred in Salem on April 6, 1830. All of the characters in this script were players in the events surrounding that murder, though not as portrayed here. Daniel Webster, for example, U.S. Congressman and noted orator, was the prosecuting attorney during the trial of the Knapp and Crowninshield brothers.

Thanks to Karin Coonrod for commissioning this piece for Compagnia de’ Colombari productions in Italy and NYC, and to John Sarrouf for suggesting I extend my original cutting.

REVIEWS
“An ideal production for a dinner theatre” (Essex County Newspapers); “a provocative script…dialogue with the tone of a Gilbert & Sullivan operetta” (Lowell Sun); “A hysterical whodunit…both comical and personal” (Salem News); “Quick-witted, playful…a brilliant script” (Weekender); “a spritely murder mystery…dashedly clever” (Georgetown Record); “A zany who-done-it…it captivates you” (Eagle Tribune); “a tour de force…a fun worthwhile evening out” (Daily News of Newburyport); “Rich with innuendo…relies on a talented cast for improv and audience interaction…a night of good fun” (Destination Salem)

EXCERPT

Here’s the beginning of scene two, just after the murder has been discovered by Senator Webster (who has been confused as the Benjamin, the servingman). Webster drafts an audience member to serve as his deputy.

SCENE TWO

(continuous action from SCENE ONE)

LAVINNIA, FRANK & ABIGAIL are at the chaise; PENNY in one chair; RICHARD at the other chair. ALL are making a great deal of noise.

WEBSTER. I… I… I wish to be heard!

LAVINNIA. Who are you, you foolish man?

WEBSTER. Foolish man, that’s good, and fair enough thanks to this get-up, I am Senator Daniel Webster of Marshfield—

PENNY. Senator?

WEBSTER. That’s right, Senator Daniel Webster, masquerading here tonight as a simple serving man—thus the outfit—in order to observe the comings and goings of the guests.

PENNY. Your serving man is a Senator?—that is rich.

WEBSTER. Not the serving man in fact—

RICHARD. (shouting) YOU’RE NOT BENJAMIN THE DEAF MANSERVANT?

WEBSTER. NO!

PENNY. So you can hear us then?

WEBSTER. Quite well, actually.

RICHARD. Very clever, pretending to be deaf the whole time.

PENNY. (alarmed) Yes, ooo, he might have overheard anything, how—provocative!

WEBSTER. I had no intention of pretending to be deaf.

LAVINNIA. So this man is blind, then?

WEBSTER. HOLD IT!

ABIGAIL. Could you please sort this out for us, we’re fairly confused because, apparently, we’ve got a murder on our hands.

WEBSTER. Yes, at last.

LAVINNIA. Dear Captain White! (Sobs)

PENNY. (Weeps)

ABIGAIL. Oh Uncle! (Sobs)

FRANK. (Weeps)

(WEBSTER, having looked at each in turn, looks at RICHARD amid the din of lamentation)

RICHARD. (shouting above the noise) BET YOU WISH YOU WERE DEAF NOW, EH?

WEBSTER. All right! Now hear me—I understand this is a delicate moment, but there’s been foul play here and I intend to get to the bottom of it. Let me spell this out for you. As I said a moment ago, the Honorable Captain Joseph White lies dead in his bedroom above us, the apparent victim of a cold-blooded murder. The coroner has been sent for, and for the moment I’m placing everyone under house arrest.

SUSPECTS. House arrest?

LAVINNIA. What do you mean? Arrest the house?

WEBSTER. That’s very literal, but in a manner of speaking, yes. I mean no one may leave the premises without my authorization.

ABIGAIL. Surely an elderly relative of the deceased might retire to another venue—

WEBSTER. Not likely, Pikely.

ABIGAIL. Don’t call me “Pikely”.

LAVINNIA. Don’t call me “elderly”.

WEBSTER & ABIGAIL. Sorry—

WEBSTER. —as a matter of fact, by the end of the evening I expect one or more individuals here will retire to a venue bordered by bars and known as a jail cell!

LAVINNIA. How very gauche.

FRANK. One of us?

WEBSTER. All five of you, possibly.

SUSPECTS. Well!

WEBSTER. And gauche or no, I’m confining each of you to this overstuffed room until I’ve had a chance to question you individually.

LAVINNIA. Oh!—overstuffed!

FRANK. Question us?

WEBSTER. Yes.

ABIGAIL. About what?

PENNY. Yes, about what, and when do you start spelling?

WEBSTER. …

FRANK. Oh, you said you were going to spell out—

WEBSTER. I got it.

PENNY. I’m looking forward to the spelling. …S-P-L…

WEBSTER. I don’t know what to say to that.

RICHARD. Why don’t you tell us why you’re here, “Senator-Webster-disguised-as-Simple-Simon.”

ABIGAIL. It’s most curious.

WEBSTER. I expected you’d want to know that, and that’s why I have an answer for you. In brief, two days ago I received an urgent post from the late Captain’s solicitor—(SUSPECTS sniffle)—courage!—stating that the Captain’s last will and testament had been stolen from the Asiatic Bank.

SUSPECTS. Stolen from the Asiatic Bank!

WEBSTER. That’s right, Asiatic: A-S-Z-… Stolen. S-T-O-L-E-N; let the spelling begin. I continue: as the Captain is—was—(SUSPECTS sniffle)—courage—both rich and ruthless, he was no doubt the subject of a vicious scheme to pilfer his worldly assets.

PENNY. Worldly “assets”?

WEBSTER. … “Worldly assets.” I do not think that means what you think it means. I resume: whoever stole the Captain’s will plans to steal his estate. And I believe that someone (or someones) may be here tonight, hoping to machinate unobserved.

FRANK. Machinate?

WEBSTER. Machinate: M-A-S-H… Plot: p-l-o-t. I rally: and that’s why I’m here. To keep watch, because without a will a man’s fortune and his future are at considerable risk.

ABIGAIL. Is that so?

WEBSTER. It is. I like to say “Where there’s a will there’s a way; and where there’s none, there’s a war.” (HE enjoys his remark)

ABIGAIL. Brilliant.

RICHARD. Clear as mud.

FRANK. Huh?

PENNY. Ooo!

LAVINNIA. Balderdash and complete rubbish. Deaf or no, this is hardly a time for mangling perfectly good aphorisms—

WEBSTER. Mangling?

LAVINNIA. —nor for displaying your own undernourished wit.

WEBSTER. “Undernourished wit”—that’s a surprising usage—LISTEN LADY!—(SUSPECTS leap up)—just checking, just checking for a pulse. (SUSPECTS resettle) Fairly quick to action, I see, all of you are.

PENNY. Well, can you blame us?—after all, we’re a bit on edge.

WEBSTER. Edge?

ABIGAIL. Emotional, I believe is the point.

WEBSTER. Point?

FRANK. Look, to be blunt—

WEBSTER. Blunt?

LAVINNIA. Cease and desist!

WEBSTER. (Pointing to ceiling) ALREADY BEEN DONE, THANK YOU!

RICHARD. Yes, so you say, Senator. You say that our generous host lies murdered in his own bed. But none of us has seen the corpse—(SUSPECTS sniffle)—courage—and so we only have your word for it. “Murdered.” But is he dead? And just how dead is he? Was he strangled? Smothered? Or might he instead have died of anguished but natural causes, one hand on his foot, say, the other on his heart, gasping like a fish—

WEBSTER. Well done, Mister—Crowninshield, is it?

RICHARD. That’s right.

WEBSTER. I had hoped to catch you on some detail still hidden from view.

RICHARD. Obviously.

WEBSTER. But I see you’re far too slippery for that.

RICHARD. Only when wet. But let me press you further. You said that without a will, the Captain’s fortune and his future were both at stake—

WEBSTER. “Stake”?

RICHARD. “Risk” was the gentler way you put it.

WEBSTER. Kind of you to notice.

RICHARD. Oh, I noticed, too, Senator, that while you were pouring whiskey and passing out macaroons, the Captain was being BRUTALLY MURDERED UNDER YOUR VERY NOSE!

SUSPECTS. OH!

FRANK. He’s right!

ABIGAIL. Horrible!

LAVINNIA. You oaf!

PENNY. He IS undernourished!

WEBSTER. (To LAVINNIA and FRANK) Well, don’t forget, I’m deaf, so I couldn’t really hear anything.

SUSPECTS. Oh, right.

WEBSTER. (to RICHARD) That’s a very irritating remark, Mr. Crowninshield, and I’ll thank you never to make it again!

RICHARD. Touchy.

WEBSTER. No I’m not.

ABIGAIL. Let’s get to it—you have questions, ask them.

WEBSTER. Right you are, thank you. For starters, I’d like to establish who each of you is and why you’re here. Starting with you: what is your name, madam?

PENNY. I thought you’d never ask—my name’s Penelope, but my intimates call me Penny.

WEBSTER. Last name Penelope?

PENNY. No, last name Muchmore.

WEBSTER. “Much more”?

PENNY. Exactly.

WEBSTER. “Penelope Muchmore”—how apropos. Relationship to the Captain?

PENNY. Yes.

WEBSTER. So you knew each other?—I’ll rephrase: you were acquainted with each other?

PENNY. Quite well, Whiskeyman.

WEBSTER. Call me Senator, and what is your business here tonight?

PENNY. Pleasure, and call me Penny.

WEBSTER. This is going swimmingly. (To RICHARD) You, sir, please state your full name.

RICHARD. Richard George Crowninshield, but my intimates call me “Captain Killer.”

LAVINNIA. Oh, I knew it!

WEBSTER. Stay calm, ma’am, he may be the killer. And what is your line of business?

RICHARD. That’s none of yours.

WEBSTER. That’s correct, I’m a senator, and you are?

RICHARD. Not.

WEBSTER. Correct again. Two nothing, you, Mr. Crowninshield, but did you know the Captain?

RICHARD. Only to be a generous and highly principled man, Senator Webster. Beyond that—nothing.

WEBSTER. Well done, Mr. Crowninshield. First round to you, but beware: I’m not left handed. (Tosses pencil behind back off stage left-handedly; then, to ABIGAIL) As for you Miss—

ABIGAIL. Mrs. Knapp.

WEBSTER. Beg pardon, Mrs.—

ABIGAIL. Abigail Knapp. Grand niece to the Captain. My mother; my husband, Frank.

WEBSTER. (to FRANK & LAVINNIA) A pleasure. (to ABIGAIL) Where do you reside, Mrs. Knapp?

FRANK. We live in Wenham—

(WEBSTER silences/slightly strangles FRANK using The Force, à la Obi-Wan.)

WEBSTER. (to ABIGAIL) You were saying?

ABIGAIL. I wasn’t.

WEBSTER. Correct as usual—I see you have a keen intellect.

ABIGAIL. Only compared with some.

WEBSTER. I may take offense at that remark, but first, do you live here?

ABIGAIL. I live in Wenham.

WEBSTER. Yes—with mommy and hubby?

ABIGAIL. Only with my husband, Senator. Where I can devote myself entirely to him.

WEBSTER. That’s a seemingly inconsequential remark, Mrs. Knapp; I may choose to ignore it. (to FRANK) You sir, Mr. Frank Knapp.

FRANK. Yes, and I apologize.

WEBSTER. For murdering the Captain?

FRANK. No!

WEBSTER. You don’t apologize for murdering the Captain?

FRANK. No no!

WEBSTER. You must bear him a great grudge to be so unrepentant.

FRANK. Well I, I—

WEBSTER. And don’t think I didn’t notice you just said “I” twice in a row.

FRANK. I—

WEBSTER. And that’s three, Franky! Which brings me to you, Mum.

LAVINNIA. I don’t see that it does.

WEBSTER. I bet you don’t see a lot of things.

LAVINNIA. I don’t see why you should see that.

WEBSTER. And I don’t see why you don’t see the reason I should see it!

LAVINNIA. Oh!

WEBSTER. Heh heh. So let me ask you: what is your name and relationship—

LAVINNIA. I am Lavinnia White Beckford. I am the Captain’s only niece.

WEBSTER. And why are you here?

LAVINNIA. My thoughts exactly. I should be resting my poor astonished heart elsewhere.

WEBSTER. Interesting that you should say “heart”—what I’m asking is did you float in like Moses, or—

LAVINNIA. This is my home.

WEBSTER. This is your home?

LAVINNIA. Yes, I reside here. Here is where I reside. Your powers of observation are sadly deficient. I happen to be the mistress of this house.

WEBSTER. (Looking at PENNY) The “mistress”—oh, I thought that position was taken—

PENNY. It is. She’s the housekeeper.

WEBSTER. The housekeeper?

LAVINNIA. The housekeeper, yes.

WEBSTER. Very well. I’ll be questioning you all in greater detail shortly, after the coroner has examined the body. So don’t drink heavily. Call me crazy but I have a sneaking suspicion that the solution to the Captain’s murder is to be found in this very room.

SUSPECTS. YOU’RE CRAZY!

WEBSTER. That’s irritating. Now: I need to speak with the other guests as well, so I’ll need someone to keep an eye on things here while I’m gone—someone imminently reliable, with a trustworthy face and a confidence-inspiring manner. Someone like—(to some guy in audience)—you, sir. What is your name?

(WEBSTER gets name and ad libs with new DEPUTY.)

WEBSTER. [Some Dude], I’m hereby commissioning you as Deputy [Some Dude] of Essex County; congratulations. Deputy, your assignment today is a sober one—sober, Deputy?—and that is to ensure that these five suspects don’t conspire to escape or to molest moi. And beware that they do not entice you into any inappropriate behavior, Deputy.

PENNY. Define “inappropriate.”

WEBSTER. (to DEPUTY) See what I mean, Deputy? Can you define it? Can you spell it?

PENNY. (to DEPUTY) Don’t I know you?

WEBSTER. She “knows” you, Deputy?

PENNY. (ad lib)

WEBSTER. Oh good: find a Penny, pick her up, eh, Deputy? Now while Deputy [Some Dude] keeps an eye on Penny, I’d like to talk with any of the rest of you who may have seen or heard something which might help me solve this crime. Incidentally, I’ve also prepared a tasty selection of bon-bons which you may wish to sample in the parlor as well. None for the Deputy; he’s working. On saving his marriage, ammi right, Mrs. D? (to audience) So, we’ll take an intermission [fade up intermission music] while the Coroner does his business, eat some bon-bons, and if you’ve witnessed anything fishy tonight, please let me know.

(MUSIC begins to swell)

PENNY. Oh, Senator?

(MUSIC dips)

WEBSTER. Yes?

PENNY. I was just hoping I might sample your bon-bons myself…

WEBSTER. Tickle me with a tuna, an innuendo from the escort! Get to work, Deputy (MUSIC swells), that’s the kind of behavior I’m talking about!…

(The SUSPECTS begin exhorting the DEPUTY for this or that, as the light FADE and the MUSIC peaks.)

END OF ACT ONE

(The actors may remain onstage during intermission, and may interact with audience members. They will get a break during the one-on-one interrogations upcoming.)

                 

the Gardner-Pingree House in Salem, where the actual murder occurred (reliefs by Sarah Symonds)

original cast members Ina Buchanan, Marc Fillion, Pete Holmes, Daniel Wall

available script two-act play interactive murder mystery 90-minute play 6 actors one set community theatre regional theatre dinner theatre high school productions hilarious comedy history mystery multiple endings community theater dinner theater regional theater

Cry Innocent – opening day

On By markstevickIn PlaysLeave a comment
25 years ago today, “Cry Innocent” opened in Old Town Hall.
The 2016 season opens today.
Congratulations Kristina, and Norm, and these many brilliant Ha’Puritans.
CRY INNOCENT was originally presented by History Alive! (Norman Jones, artistic director) at Old Town Hall, Salem, MA, on June 20, 1992. The production was directed by Norman Jones; costumes were by Donald Daly; set pieces were by David Butler; graphic design was by Chad Carlberg. The cast was as follows:
BRIDGET BISHOP – Leigh Deacon
COLONEL JOHN HATHORNE – Patrick Gray
ALICE PICKERING, ELIZABETH NICHOLS – Elizabeth Eckert
JOHN LOUDER, RICHARD TRASK, SAM GRAY – Steve Baldwin
JOHN COOK, WILLIAM BLY – John Payette
SUSANNA SHELDON, CHRISTINA TRASK – Maryellen Nauman
MARGARET KING, MARY SHATTUCK – Dawn Jenks
REBECCA BLY, LYDIA NICHOLS – Kristen Weiss
JOHN BLY, REV. JOHN HALE – Mark Stevick
CRY INNOCENT 1993 (Norm Jones, director; Ann Levy, business director; Don Daly & Mary-Ellen Smiley, costumes) opened in Old Town Hall on June 19 with this cast: Dawn Jenks, Eva Wilson, Steven Stuart Baldwin, Matthew M. Hillas, Kristen Weiss, Leigh Deacon, Patrick Gray, Philip Austin, Elizabeth Eckert, John Payette, Mark Stevick, and Carol Smith Austin.
CRY INNOCENT 1994 (Norm Jones, director; Ann Levy, business director; Dawn Jenks, production coordinator; Don Daly, Anita Coco, costumes) opened in Old Town Hall on June 18 with this cast: Carol Smith Austin, Krista Cowan, Erik Rodenhiser, John Payette, Eva Wilson, Mignon Mason, Matthew Hillas, Jill Bowen, Steve Baldwin, Mark Stevick, Gabe Zucker, and Amy Robinson.
CRY INNOCENT 1995 (Norm Jones, director; Mark Stevick, associate director; Don Daly and Anita Coco, costumes) opened in Salem’s Old Town Hall on June 30, 1995 with this cast: Eva Wilson, Eric Vendt, Erik Rodenhiser, Steve Baldwin, Wendy Simays, Ryan Leach, Kristi Wacome, Brian Moore, Jon VanderWoude, Heidi Duncan, and Matthew M. Hillas.
CRY INNOCENT 1996 (Norm Jones, director; Mark Stevick, associate director; Eva Wilson, production coordinator; Anita Coco, Eva Wilson, costumes, Jessica Cogdill, box office) opened in Old Town Hall on June 22 with this cast: Heidi Duncan, Kristi Wacome, Erik Rodenhiser, Eric Vendt, Brian Moore, Eliza Benedict, Josh Kuhar, Eva Wilson, Jon VanderWoude, and Rebecca Hall.
CRY INNOCENT 1997 (Norm Jones, director; Mark Stevick, associate director; Eliza Benedict, production coordinator; Anita Coco, Eva Wilson, costumes; Ben Bensen, box office) opened in St. Peter’s Church on June 21 with this cast: Rebecca Hall, Brian Moore, Eric Vendt, Anneliese Stauff, Nate Moniz, Tony Martelle, Jenni Smaltz, Heidi Horner, Heidi Duncan, and Reed Mungovan.
CRY INNOCENT 1998 (Norm Jones, director; Mark Stevick, director of development; Eliza Benedict, production coordinator; Brian Moore, marketing; Anita Coco, Eva Wilson, costumes) opened in Old Town Hall on June 20 with this cast: Jenni Smaltz, Tony Martelle, Nate Moniz, Lori Evans, Seth Henderson, Dan Buck, Ben Wolfe, Heidi Duncan, and Rebekah Clinard.
CRY INNOCENT 1999 (Norm Jones, artistic director; Eric Vendt, company director; Mark Stevick, director of development; Heidi Duncan, costumes, Chelsea Butcher, box office manager) opened in Old Town Hall on June 19 with this cast: Kristi Wacome, Rebekah Clinard, Tony Martelle, Amy Aldrich, Daniel Wall, Pete Holmes, Marc Fillion, and Shana Cassidy.
CRY INNOCENT 2000 (Norm Jones, Mark Stevick, artistic directors; Kristi Wacome, company director; Karen Burch, production coordinator; Heidi Duncan, costumes) opened in Old Town Hall on June 18 with this cast: Amy Aldrich, Marc Fillion, Daniel Wall, Heather Cole, Jeremy McKeen, Adina Rowan, Nate White, Brett DeBose, and Shannyn Harris.
CRY INNOCENT 2001 (Norm Jones, Mark Stevick, artistic directors; Kristi Wacome, company director; Shana Cassidy, production coordinator; Heidi Duncan, costumes) opened in Old Town Hall on June 24 with this cast: Heather Cole, Daniel Wall, Marc Fillion, Amy Aldrich, Bryan Olsen, Danielle Frederick, Jonathan Flanders, Rupert Dudney, Orion Couling, Brielle Montgomery, and Holly Couling.
CRY INNOCENT 2002 (Norm Jones, Mark Stevick, artistic directors; Kristi Wacome, company director; Heidi Horner, production coordinator; Kristi Wacome, costumes) opened in Old Town Hall on June 16 with this cast: Danielle Frederick, Jonathan Flanders, Graham Messier, Daniel Wall, Brielle Montgomery, Warren Wegrzyn, Nathan Seavey, Elizabeth Thompson, and Natalie Hildreth.
CRY INNOCENT 2003 (Norm Jones, Jeff Miller, artistic directors; Kristi Wacome, company director; Lori Evans, production coordinator; Christine Alger, Kristi Wacome, costumes; Jenna Perreault, box office) opened in Old Town Hall on June 22 with this cast: Natalie Hildreth, Graham Messier, Paul Turbiak, Nick Neyeloff, Nora Henderson, Paul D’Agostino, Sue Brown, and Courtney Fitzgerald.
CRY INNOCENT 2004 (Jeffrey Miller, artistic director; Kristina Wacome Stevick, director of education; Lori Evans, production coordinator) opened in Old Town Hall on June 19 with this cast: Brielle Montgomery, Courtney Fitzgerald Maggs, Paul Turbiak, Graham Messier, Paul D’Agostino, Nora Henderson, Andrew Winson, Jill Rogati, and Sara Peterson.
CRY INNOCENT 2005 (Jeffrey Miller, artistic director; Kristina Wacome Stevick, director of education; Lori Evans, production coordinator, Meg Jones, box office) opened in Old Town Hall on June 19 with this cast: Audrey Peters, Kaitlyn Henderson, Jill Rogati, Grace Menzies, Anne Colpitts, Elizabeth Polen, Brett Johnson, Nathan Seavey, Jon Flanders, and Damien Jesperson.
CRY INNOCENT 2006 (Kristina Wacome Stevick, artistic director; Dawn Sarrouf, director; Dreme McClennan, production coordinator; Maria Stuart, production assistant) opened in Old Town Hall on June 23 with this cast: Trisha Hail, Julianne Richards, Victoria Cimino, Rachel Mayer, Rebecca Collura, Mary Seville, Anne Colpitts, Brett Johnson, Andrew Hoover, Stephen Humeston, Eric Stevenson, David Draper.
CRY INNOCENT 2007 (Kristina Wacome Stevick, artistic director; Dawn Jenks Sarrouf, director; Dreme McClennan, prod. coord.) opened in Old Town Hall on June 29 with this cast: Victoria Cimino, Anne Colpitts, Elizabeth Condon, David Draper, Jesse Gilday, Trisha Hail, Andrew Hoover, Hannah McBride, Brittany Perkins, Liz Polen, Julianne Richards, Mary Seville, Eric Stevenson, Joseph Stiliano, and Jacob Watson.
CRY INNOCENT 2008 (Kristina Wacome Stevick, artistic director; Mark Wacome Stevick, director; Allison Petrone, stage manager; Liz Condon, PR; Christina Brandano, a.s.m.; Carrie Midura, costumes) opened in Old Town Hall on June 29 with this cast: Jenney Dale, Eli Donis, Bobby Imperato, Kim Kurczy, Alec Lewis, Hannah McBride, Kathleen McGovern, Natalie Miller, Kim Peck, Jay Pension, Julianne Richards, David Stickney, Joseph Stiliano, Rachel Strasner, and Jacob Watson.
CRY INNOCENT 2009 (Kristina Wacome Stevick, artistic director; David Goss, historian; Sarah Hartlett, site & stage manager; Kaitlyn Prior, stage manager.; Jessica Hackett & Tori Cimino, a.s.m.; Cheri Grishin, box office; Carrie Midura, costumes) opened in Old Town Hall on June 28 with this cast: Lurie Armand, Melissa Federico, Carol Grossi, Nick Hanlon, Bobby Imperato, Bruce Keye, Dennis Lemoine, Nicole Leotzakis, Hannah McBride, Natalie Miller, Daniel Parziale, Jay Pension, Chris Preyor, Nate Punches, Matt Schetne, Leda Uberbacher, and Kristina Walker.
CRY INNOCENT 2010 (Kristina Wacome Stevick, artistic director; Kathleen McGovern, director; Paul D’Agostino, October cast director; Sarah Hartlett, site & stage manager; Cheri Grishin, box office & sales manager; Lisa Landrebe, box office assistant; Carrie Midura and Jill Hall, costumes) opened in Old Town Hall on July 2 with this cast: Jenney Dale, Eli Donis, Marc Ewert, Andrew Hoover, Taylor Jones, Brittany Mitchell, Devon Rattigan, and Susanna Young.
CRY INNOCENT 2011 (Kristina Wacome Stevick, artistic director; Anne Colpitts and Jill Rogati, directors; Sarah Hartlett, site manager; Cheri Grishin, production coordinator; Christine¬ Kohli, box office) opened in Old Town Hall on July 3 with this cast: Conor Burke, Shari Caplan, Jenney Dale, Dominique Gobeil, Brittany Mitchell, Peter Murphy, Jasmine Myers, Jack Souweha, Armerys Suarez, and Steven Turner.
CRY INNOCENT 2012 (Kristina Wacome Stevick, artistic director; Jill Rogati, director; Cheri Grishin, production coordinator; Armerys Suarez, box office) opened in Old Town Hall on June 24 with this cast: Chelsea Borden, Conor Burke, Colin Colford, Kathy-Ann Hart, Sam Joyall, Sarah Mann, Britt Mitchell, Jasmine Myers, Thom Rash, and Keith Trickett.
CRY INNOCENT 2013 (Kristina Wacome Stevick, artistic director; Cheri Grishin, production coordinator) opened in Old Town Hall on June 18 with this cast: Colin Colford, Rachel Stigers, Ameila Haas, Sophie Lieton-Toomey, Diana Dunlap, Chelsea Borden, Carl Schultz, Max Sklar, Ariele Kaplan, Olivia DuMaine, Conor Burke, and Steve Pierce.
CRY INNOCENT 2014 (Kristina Wacome Stevick, artistic director; Cheri Grishin, production coordinator) opened in Old Town Hall on June 18 with this cast: Colin Colford, Rachel Stigers, Ameila Haas, Sophie Lieton-Toomey, Diana Dunlap, Chelsea Borden, Carl Schultz, Max Sklar, Ariele Kaplan, Olivia DuMaine, Conor Burke, Steve Pierce, Hillary Webster, Will Martin, and Pat Bridgeman.
CRY INNOCENT 2015 (Kristina Wacome Stevick, artistic director; Cheri Grishin, group sales; Will Frazier, production coordinator; Sarah Mann, assistant director) opened in Old Town Hall on June 20 with this cast: Colin Colford, Rachel Stigers, Ameila Haas, Nathan Burgette, Sophie Lieton-Toomey, Diana Dunlap, Chelsea Borden, Carl Schultz, Max Sklar, Ariele Kaplan, Olivia DuMaine, Heather Pasquazzi, Will Martin, and Pat Bridgeman.
CRY INNOCENT 2016 (Kristina Wacome Stevick, artistic director; Marc Ewart, production manager; Carl Schultz, shift supervisor; Sarah Tweed, box office) opened in Old Town Hall on June 20 with this cast: Molly Sidell, Daniel Alvarado, Chloe Eaton, Bradley Boutcher, Garrett Reynolds, Macey Jenkins, Patrick Cornacchio, Sophie Lieton-Toomey, Amelia Haas, Max Sklar, Heather Pasquazzi, Pat Bridgeman, and Sydney Taylor.
This list is missing some folks who were October season only.

Family Drama

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Our family, on a Saturday morning in PJs, recorded the opening 90 seconds of Goodnight, Captain White. (Click and chuckle.)

Using a program like Audacity, you can record everyone all together, or you can, like I did that morning, record in little chunks. The latter works well when your actors can’t read. And with fewer overlaps in the recording you’re freer to move lines around and make rhythms your ear wants.

After recording, we downloaded some music for the start and for background, and we made the sound effect of footsteps using their wood blocks.

This was lemon squeezy.

Here’s a script. Read along as it plays.

CAPTAIN WHITE SCRIPT

FRANK. Well. The Captain looks in perfect health tonight, wouldn’t you say?

ABIGAIL. Yes, I would, perfect.

FRANK. Yes.

RICHARD. Would you.

FRANK. Sorry?

RICHARD. I would say he looks like a trout.

ABIGAIL. Lovely.

FRANK. A trout?

ABIGAIL Frank, dear, some of the guests are leaving, let’s see them out, shall we?—since Uncle’s gone upstairs.

FRANK. By all means. Please excuse us. And, do help yourselves to the uh—oh, I see you have, yes. Well. Mr. Crowninshield. Miss Muchmore. [leaving] A trout? (FRANK and ABIGAIL exit, murmuring)

PENNY. What kind of trout?

RICHARD. Doesn’t matter.

PENNY. No? I think it does. Makes it more interesting. Details. Give me the gory details.

RICHARD. The only detail that matters here is the belly.

PENNY. The belly?

RICHARD. Yes, the soft, pliable white underbelly of the fish.

PENNY. Ah.

RICHARD. The trout is floating—belly-up.

PENNY. Yes, I see. [Noises off, ABIGAIL and FRANK bidding goodbye]
Oh!

RICHARD. Have I frightened you?

PENNY. No—well, yes of course Richard, but I’ve cut myself on this little clasp, I think.

RICHARD. Bleeding, are you?

PENNY. Well I can’t tell yet. Perhaps. Will it need a bandage?

RICHARD. Let me see. [Goes to examine her hand] I don’t see a cut.

PENNY. You’re right of course. It’s nothing. Tell me, why did you come here?

RICHARD. Because I wasn’t invited.

PENNY. But you were–there was a note in the Gazette. You do read, don’t you, Richard?

RICHARD. Only obituaries. Of men I’ve killed.

PENNY. Oh!

RICHARD. Shocked?

PENNY. Have you?

RICHARD. Killed?

PENNY. Yes.

RICHARD. No.

PENNY. Oh.

__

-cast-

Frank Knapp: Me

Abigail Knapp: Yelena

Richard Crowninshield: Wyn

Penelope Muchmore: herself

__

History Alive, Inc., is seeking comedic actors for all six roles in the play, which will be directed by Sarah J. Mann.
AUDITIONS will be at Salem’s Old Town Hall on February 19th & 20th at 6pm, and February 21st at noon, with call backs (if needed) that evening.
As this is a stylized whodunit comedy, all ages (18+) and genders are considered for all roles. The play is interactive and relies frequently on improvisation; actors should be comfortable with physical comedy and improv.
The production dates are 3/31, 4/1 & 4/2 at The Hawthorne Hotel in Salem, with an additional weekend TBD over the spring in Marblehead, MA. Additional performances could follow if desired. Actors will be paid a stipend for rehearsal and performances.
For the audition, please prepare a 1-2 minute comedic monologue (preferably classical, but not required), and be ready for cold-reading from the script.
To schedule an audition please e-mail s.jplaywright@gmail.com with your name and preferred audition time.

Captain White – “May your first child…”

On By markstevickIn PlaysLeave a comment

“And may your first child be a masculine child.”

Brilliant Friends, I’m trying to sell 30 tickets to my play, Goodnight, Captain White, at the Hawthorne Hotel—end of this month. This is a benefit for Saltonstall School, where many small people I love attend. The show will feature the school principal, Mr. G, and several teachers and parents, as The Deputy.

The dates for this run are March 31, April 1 & 2 at 7:30 p.m.
(Buy tickets here: http://www.brownpapertickets.com/event/2503042 )

If you can, please attend on April 1 or 2, and save March 31 for Bryan Parys’s event and book release at the Cabot Theatre.
https://www.facebook.com/events/473350742864445/

Here’s a further diversion:

The Goodnight, Captain White script pilfers lines from films, plays, TV shows, and short stories. For the next week or so, I’ll post one of those lines here each day. If you recognize its source, be the first to identify the title. The big brain (“on Brett”) who first identifies the most titles gets a free ticket to one of the April shows, courtesy of my very deep pockets. (No company or cast members allowed—and I’m sure you all won’t cheat… Right, Crowninshield?)

We’ll start with the “masculine child” quote above. Where’s it from?

Love and thanks.

-photo by Social Pilates Photography. Featuring Lauren Feeney, Arielle Kaplan, Zack Reardon, Matt Perusse, Chris Martel, and Will Martin

Goodnight, Captain White auditions

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Audition for GOODNIGHT, CAPTAIN WHITE

Goodnight, Captain White is a comic whodunit that re-imagines the infamous 1830 murder of wealthy Salem sea captain Joseph White. Guests to the Captain’s party are served up the long-brewed grudges and brazen schemes that led to the Captain’s untimely death. Six of the historic characters conspire during the play’s first act until the murder is committed. During act two, audience members may reconstruct the suspects’ movements and grill them on their motives. Then the guests help Sen. Daniel Webster ferret out each evening’s killers. Which of the play’s five endings is performed depends on the vicissitudes of its audience.

History Alive, Inc., is seeking comedic actors for all six roles in the play, which will be directed by Sarah J. Mann.

AUDITIONS will be at Salem’s Old Town Hall on February 19th & 20th at 6pm, and February 21st at noon, with call backs (if needed) that evening.

As this is a stylized whodunit comedy, all ages (18+) and genders are considered for all roles. The play is interactive and relies frequently on improvisation; actors should be comfortable with physical comedy and improv.

The following roles are open:
–Lavinnia Beckford, the Captain’s excessive and exacting housekeeper
–Abigail Knapp, Lavinnia’s daughter, the Captain’s capable grand niece
–Frank Knapp, Abigail’s hapless husband, the Captain’s former employee
–Richard Crowninshield, a dangerous outlaw type
–Penelope Muchmore, an amorous harlot type
–Daniel Webster, under cover as hired help. During the play he is mistaken for the manservant, and is wrongly thought to be deaf (doubles as Captain White).

The production dates are 3/31, 4/1 & 4/2 at The Hawthorne Hotel in Salem, with an additional weekend TBD over the spring in Marblehead, MA. Additional performances could follow if desired. Actors will be paid a stipend for rehearsal and performances.

For the audition, please prepare a 1-2 minute comedic monologue (preferably classical, but not required), and be ready for cold-reading from the script.

To schedule an audition please e-mail s.jplaywright@gmail.com with your name and preferred audition time.

__

Some reviews of Goodnight, Captain White: “An ideal production for a dinner theatre” (Essex County Newspapers); “a provocative script…dialogue with the tone of a Gilbert & Sullivan operetta” (Lowell Sun); “A hysterical whodunit…both comical and personal” (Salem News); “Quick-witted, playful…a brilliant script” (Weekender); “a spritely murder mystery…dashedly clever” (Georgetown Record); “A zany who-done-it…it captivates you” (Eagle Tribune); “a tour de force…a fun worthwhile evening out” (Daily News of Newburyport); “Rich with innuendo…relies on a talented cast for improv and audience interaction…a night of good fun” (Destination Salem).