Sound Prospectus

Sound Prospectus

Arsenic and Old Lace

Huffaker, Red 13

Arsenic and Old Lace takes place in Brooklyn, New York in 1941, just as the US is gearing up to the possibility of diving into WWII. Overall sentiment in the country is still mostly positive, but folks are beginning to feel the effects of war in small ways – a lack of flour and buttercream, nylon and wax. Most people are looking for some relief from the serious intent of these daily reminders of the war effort. Abby and Martha Brewster provide a refuge for all who enter their charming, Victorian home. They live insulated from the outside world and a bit stuck in time from what seems to be their young adult days –the 1880s and 90s.

The show demands several practical cues. Teddy blows his bugle frequently and does it loudly and on stage. For this reason, the actor needs to learn to blow it so that the action will flow naturally and quickly with the live sound. Mortimer makes a phone call to his pal Al at the paper after he discovers Mr. Hoskins. The dial phone must have an appropriate dial turning sound and is also best done live from the phone. When Al calls back, the phone needs to have an authentic 1941 ringtone. There is also a doorbell that the actor playing Gibbs can ring – there is some feeling that since Mort confuses this sound with the doorbell, they should be similar sounds. I disagree. The moment is arranged to show just how flustered and out of whack Mort is getting and I think it will be much funnier is he answers the phone that sounds nothing like a doorbell. There is also the sound of a body dropping to the floor when, in the dark, Einstein drops Spenalzo and lands in the window seat himself. Again, these are all sound effects the actors can make on their own in the natural course of the action.

The window seat is supposed to squeak and this is best taken care of with a practical cue – something embedded in the seat itself so it goes with the action and the sound emanates from the right source. If it is rigged well, the effect should not need amplification.

Pre and post show house music, along with intermission music, then, will be the only recorded sound for this production. Since the show is a “zany, screwball comedy” set in 1941 the music should reflect the optimistic mood of American pre-WWII upbeat tunes. Songs from the hit parade of 1935 – 41 is appropriate. The Andrews sisters “Boogie Woogie Bugle Boy” is apt for both the time period and Teddy. Dorsey and Goodman’s Big Band Era is still around and some of their pieces – String of Pearls or Chattanooga Choo Choo are both good choices. Any late 30’s dance music will help  - even popular movie tunes – Fred Astaire, Frank Sinatra, and Doris Day – are all good. Ballads and even love songs don’t really fit the bill here; every piece should be upbeat and cheerful.

Overall, this is a straightforward show that will function best with live practical cues and fun, upbeat, and positive mood music for pre/post show and intermission.