Research and Application

Preparation:

Stimuli-

Theatre practices found throughout the world are mainly supported by the traditions of cultures, which have been in existence hundreds of years or by practitioners, influenced by events forty years-ago. Consequently, I felt it necessary to be inspired by the prevalent themes in today’s global society, using newspaper headlines as stimuli. Headlines capture the emotion and plot of an event, as stimuli influencing content and emotional impact. The most prevalent theme in news for the past decade was terrorism. Headlines allows for emotional interpretation of various attacks seen from a range of perspectives. They lend themselves to the development of a theatre piece, connected with present society, encompassing multiple cultures, permitting open-ended direction.

Brainstorming-

The stimuli motivated me to choose a play, inspired by the context of the articles related to terrorism. The stimuli also influenced me to pick an alternative perspective. Generally, news distributes generalized information, conveying facts of monumental horror. In terrorism related-stories the personal element is lost, however, within stories of despair events are often highly personal. I felt it crucial to approach this task from a different perspective; the story of an individual. Figure 2 is the first preliminary brainstorm detailing the desired elements for the text.

The text I chose was Let it Stand; written by Pamela Reeves, is a one act play with three characters, describing their perspectives professionally, post 9/11.

Research and Application

The knowledge I gained throughout my theatre course lead to an eclectic interest in various practices, and views of individual practitioners. Understanding the independent project portfolio underpins the core of the course, I intended to combine the theories and practices I found most influential.

Newspaper headlines, as stimuli, directly display the human perspective, forcing the manipulation of the piece to be grounded in realism. The chosen text emphasizes character, and the philosophies and theories of Konstantin Stanislavski helped to shape its development. Shadows of Realism describes Stanislavski’s principles as grounded within the idea of uncovering the “truth” within the text. Further, evaluating a character’s psychological motives portrays this. This influenced the need to explore the depth of the characters beyond their depiction in the text. Further research into the development of Stanislavski’s method was displayed through development of the Moscow Arts Theatre. The company sought to remove the “ego-oriented actor who was interested in projecting on stage”1, shifting from romanticism, to “simplicity, directness and ‘truth’ “2 Central to his theory was the psychological development of the actor within their character. He felt

1 Kindelan, Nancy. Shadows of Realism: Dramaturgy and the Theories and Practices of

1 the usage of simple direction would lead to the development of successful character mentality;

“The quieter and more restrained my body felt on the stage, the more there arose in me the necessity to supplant gesture minietics intonation of the voice, and look of the eye.”3

In association with Stanislavski’s quote, Kathakali furthered the development of this piece. This theatre form emerged in the late sixteenth century called “story play”, consisting of multiple episodes of religious epics.4 Drawn to the idea of creating significance below the surface, I sought to acquire knowledge furthering my concept development. During exploration of this practice Wendy O’Flaherty’s quotation captivated my interest in the elements of Kathakali epics;

“Myths are not written by gods and demons… they are by, for, and about men. Gods and demons serve as metaphors for human situations…Myth is a two-way mirror in which ritual and philosophy may regard one another. It is the moment when people… are …confronted with problems that have hitherto left to… the philosophers; and it is the moment when philosophers, too, come to terms with the darker, flesh-and-blood aspects of their abstract qualities”. 5

This description of the physical and theoretical components of Kathakali, and the evaluation of contradictory human perspectives, further motivated me to use Kathakali within my realization, encompassing multiple perspectives within one piece. Research uncovered Kathakali tradition is passed through generations as a collection of established feelings, and as an active process of oral transmissions, entertainment, or writing.6 Again, the idea of the accumulation of perspectives appealed to the nature of the piece and represented a stronger connection between this practice and the chosen text.

The role of makeup within Kathakali is one element, which comprises the vast practice with layers of meaning beyond content, with seven different styles to apply the makeup used.7 These traits increase characterization without dictating it through dialogue. In accordance with Stanislavski’s principles, the “truth” of a piece is discovered beyond the text or script, therefore, the employment of visual emphasis in Kathakali would be effective in realizing a piece. Similarly, the task of the choreography is used to

Modernism. Westport, CT, Unites States: Praeger Publishers, 1996. Print. p. 19. 2 Ibid. 3 Ibid, p. 19-20. 4 Zarrilli, Phillip B. Kathakali Dance-Drama: Where Gods and Demons Come to Play. London: Routledge, 2000. Print. p. 3. 5 Ibid, p. 4. 6 Ibid, p. 17. 7 Ibid, p. 53-55.

2 impact mood through a range of movement, from strong and vigorous, to soft and fluid8, highlighting action can also develop a piece beyond text.

Figure 3:Deleovepment of ideas of Stanislavski and Kathakali

Performance Concept:

Ideas demonstrated in the realist theories of Stanislavski and theories of Kathakali emphasize the ability to communicate a larger story beyond the confines of the piece’s narrative.

Objectives of the piece:  Perform beyond the text  Provide a depth to the audience’s connection with the characters o Create an “entire” view of each character  Provide multiple perspectives for one event o Provoke questioning of generally accepted principles, points of view etc.  Thematically; o Behind one event there are many people impacted uniquely o Evaluation of intentions of corporate groups o One’s ability to manifest change o Un-satisfaction with career or job, midlife-crisis feeling

Setting Objectives-

The highly complex aim of the piece required the set to lend itself to the clear portrayal of the piece’s intent, while remaining amongst the realm of the setting described in the text. Although the description did not allow much creative liberty, we were determined to portray the setting uniquely to encompass the nature of the piece. Below, in figure 4, is a list of objectives compiled during a preliminary brainstorm about the physical depiction of the set:

8 Ibid, p. 61-62.

3 Set Objectives:  Simple, focus is intended to be placed solely on the characters  Want to make audience apart of the story, ie don’t want to use a traditional set o Have audience really close to the stage, have audience within the fourth wall?  Symbolic elements, have few props with large impacts  Convey the idea of alternative perspective, ie use office setting to help convey the message of cooperate perceptive of 9/11  Mimic the feeling of insignificance portrayed by the characters, as well as unfulfilled career ambitions  Show an element of frustration, idea of caged feeling  Create reflection within audience, encourage asking midlife crisis questions within one’s self; “What am I doing here?”, “How did I get to this point in my life?” Figure 4

The Process of Realization:

Adopting directorial role for this piece I lead the majority of the concept development in the creation of the set, character development and costume design. The following shows the development of those production elements in the establishment of the piece.

Realizing the Set-

Assisting in the portrayal of the performance concept, enhancing the characters individual stories beyond the script, it was essential to create a set, which would “fit” the characters.

4 KATE: This is where they’ve put us? It’s smaller then my apartment, for Chrissake! Why don’t they just shove use down in the basement and hang bells around our necks? MARTHA: I don’t think they have a basement. KATE: (throws her bag down and kicks it) Bastards! How could you let them stick you away in here? (page 6)

KATE: Keep my voice down? There’s nobody around for miles, why do I have to keep my voice down? Where’s the computers? MARTHA: (reluctant) I don’t think we’ll ours till we go back to the city. KATE: Why not? (gestures to Exit door) They all have. And proper desk chairs and- (page 6)

KATE: (kicks her bag again) Fund names! Where’s the phone? Oh, someone else messed up in Purchasing? Forward Funds fucks up again! (page 7)

KATE: (kicks her bag again, stares up at the United we stand poster) Who did the decorations? MARTHA: Straight. They did all the cubicles, it was up already when we came. (page 13)

Figure 5: Extracts from Let it Stand

The set was described as very minimal and bleak, aiding the achievement of the set objectives. We wanted to take this a step further by conveying this depressing space for the audience. This would provide character empathy through a greater connection with the audience. Applying Stanislavski’s theories of the “fourth wall” to the office environment we were trying to create, I decided our performance should take place within our small rehearsal room. Fitting the physical description of the setting, the use of this space offered a realistic office feel.

Stanislavski’s vision of a “fourth wall” was of an “invisible wall”, which partitioned the stage from the audience. However, my intention was to create the opposite, and use the “fourth wall” to enclose the audience within the piece by positioning the “United We Stand” poster (figure 6) against the wall above the audience. This brought the wall’s context into the piece, consuming the audience within the play.

Furthermore, a desired audience of approximately 20 to 30 people would enhance the claustrophobic feeling, which significantly influences the atmosphere. The members of the audience were set-up in a semi-circle, creating the sensation of “ hugging” the action happening on “stage”. (see figure 7) Again, supporting the theme of people trapped in meaningless careers, feeling unfulfilled within their lives.

5 A minimalist set meant few subsequent props were necessary. References throughout the text to objects made their inclusion necessary. Additionally, several folders marked with probable titles further enhanced the realist vision of a cramped office.(see figure 8) Moreover, the scattering of papers showed the disregard of the work being done. This supports the menial and depressing nature of this particular office. The inclusion of extra tables shows the little thought put into the creation of this office.

For a sketch of the set please see Appendix A.

Lighting-

Choosing to stage the piece within the small seminar room eliminated the need for addition lighting. This worked to the advantage of the piece. Presenting our piece for a small group of mainly theatre students, it was decided this would hardly impact the performance. Therefore, the fluorescent lights in the ceiling were used as lighting, further contributing to the “office” feel, drawing the audience into the piece.

For a sketch of the lighting please see Appendix B.

Media enhancements-

The emotional context of this piece assumes a large role, with the dismal office assisting the portrayal of an emotional atmosphere. To emotionally impact the audience prior to the piece I accumulated four videos, all slightly different perspectives conveying the tragedy of 9/11. The videos were to be projected on the wall blended together depicting news reports, pictures and a simulation of the plane crashing into the building. (see figure 9)

The use of the video was important in highlighting the somber side of a relatively humorous play by providing context of the tragedy that was the motivating the undertaking of this piece. Also, it provides an emotional basis for the characters in the piece, and gives insight into their interactions and responses, giving the audience a basis for empathy.

Realizing Characters-

Establishing a true portrayal of characters in this piece was the main theatrical goal. It relied heavily on the individual actor’s ability to put the theories and methods of Stanislavski to use. A sample of the characterization process is provided in a step-by-step format, which depicts my personal realization of Martha.

6 Step One: Finding the character within the text

Stanislavski’s method for devising character profiles came from within the text, using the characters objectives to give the actor direction, unveiling the hidden understanding of the script.9 Richard Hornby praised this method by saying “It can incorporate complexity and ambiguity…it deals easily with situations where the character says something different from what he means; it suspends judgment, [not requiring the]…typing’ of a character or ethical comments on his behavior but instead tries objectively to ascertain his particular desires; and its is wholistic, since it views all aspects of performance as interconnected.”10 Known as structuralist approach, this method encourages the discovery of patterns within the text, which leading to the development of new ideas as it is performed.11 Appendix C shows a sample of quotations collected, which encompassed Martha’s character traits.

Step two: Mapping emotions

The second step taken was to look at the text, and “map” Martha’s emotional reactions, with the graph increasing as her enthusiasm increases until exiting the office.  The initial ups and downs demonstrates struggle to be optimistic upon Kate’s arrival.  “Panicky” increases as she tries to support Kate.  Deflates as Kate asserts her position.  Martha receives present from Kate, quickly brought down upon the dismissal of the insurance list by Kate.  Energy decreases as Kate talks about her experience.  Transition upwards continues after the appearance of Bill  Martha and Kate muse over the company’s blunders.  Exits on a “high note”, encouraging Kate to open up to HR.

Figure 10 :Martha’s emotional map, part 1

Figure 2 displays the emotional peaks as Martha re-enters the office.  Initially she becomes very concerned about Kate’s conversation with Bill.  Excitement increases as she find out Kate has confessed the company’s flaws.  The second dip from the end indicates initial shock finding out Bill is HR.  Becomes excited about possibilities.

9 Kindelan, p. 89. 10 Ibid, p. 90. 11 Ibid, p. 89.

7  Last section of the graph is the most significant. Displays Martha’s decision to make a change making her own justice, demonstrated outwardly by her calm appearance.

Figure 11: Martha’s emotional map, part 2

Step three: Exploring personality

Based on the quotes collected, the elements of Martha’s personality were explored. (figure 12) This allowed an understanding of her emotional range, and the different facets of her personality required within her portrayal.

Step four: Creating a character profile

Next the was application of Stanislavski’s method to the information I had uncovered about Martha’s character. This method was used to create complete character profile (figure 13);  Build a specific physical and emotional profile of the character by responding to “who, what, where, when, why?”  “What would I do if these circumstances were real?”  Justify the character’s actions by asking “What do I want?”, answer provides the character’s objective, motivating his or her action

Figure 1312

Before beginning, I preemptively decided to answer the questions as if it was one hour after the after the second tower was destroyed, while realizing people I worked with could be dead. Figure 14 is the replication of a journal entry on November 15th 2009, during the realization of Martha’s Character.

12 “Methods of Actor Training in the 20th Century.” Practical Theatre. ‘Ed’. Sally Mackey. Cheltenham, United Kingdom: Stanley Thornes Publishers Ltd, 1997. Print.

8 1.) Who are you? : Martha Parkhill, 34 years of age, single, work fulltime as a proof reader for Forward Funds Investments, live with/take care of my 70 year-old mother, love to read, not outgoing and or very social, consider Kate to be my closest friend, hate my job, secretly I aspire to win the lottery so I can use my time to do things I want to instead of work for a company with zero literacy capabilities 2.) What happened? : I don’t really remember, seems too awfully unthinkable. I was getting mother ready for the day, like I do everyday; hot cereal in the morning, sandwich I’ve prepared for lunch on the counter, along with fresh fruit and granola. Mother was in her chair by the television, it was on mute, as she can hardly hear it, she just reads the subtitles. I was tidying the kitchen, I was hurrying because I was late for work, as usual. Mother called me from the other room, which now that I think about it, was odd. She’s normally half asleep. So I went into the room, looked at the tv, it didn’t sink in at all until I heard the announcer say you’re looking at the wreckage of the second tower about five times. I was, and still am speechless. The second thing I thought was; “where’s Kate?!” 3.) Where did it happen? : The attack happened downtown, in the middle of New York City. I live about a fifty minute commute away, I don’t understand why I didn’t hear something. Anything. 4.) When did it happen? : This most haunting and wickedly symbolic part of this is that it happened September 11th, 2001. But if you look at the date it was 09/11, 911. With a passion for literature, and my career focused solely on reading text, symbols stand out to you. Yes, from now on, there will always be something haunting about this day. 5.) Why did it happen? : I think why is probably the hardest question to fathom. Why does someone choose to cause terror? Why does someone choose to tear apart the lives of thousands of people? Choose to shake up a nation or a global society? Right now, in a moment of horror, in which my closest friend and my professional colleagues may all be dead, I have no answer. Maybe I never will.

Figure 14

Next, I evaluated what my reaction as Martha would be if the situation were real. Figure 15 is an extract from my journal on November 15th 2009;

9 The first emotion was utter shock, something too foreign to contemplate. I’d drift in and out of this frozen panic, and then in the moments where you’re distracted, and your body stops trying to fend off the fear, I’d breakdown and cry. Crying would come sporadically, while taking out the garbage or some other menial task. After crying, would flood panic, a feeling like you’re suffocating, all weights pressing down on your chest, so disorienting, and then it would be gone. I’d be fine again, until the moment I was distracted and it would happen again. This would go on a couple of days, however, once I would know Kate was ok the attacks would be shorter and less frequent. Also, there would never be any anger. How can I be angry at something don’t I understand?

Figure 15

Finally, I pondered what Martha wanted, in the immediate future, the recovery process, long-term, career-wise, and desires she might have. Figure 16 is an extract from a journal entry, November 15th 2009, from the perspective of Martha;

Immediate future: I want to know Kate is ok. That’s all I need. Or that maybe like a cliché story, I want to wake up fromFigure this horrible16 nightmare. During recovery: I want to be able to support anyone who needs comfort. And after knowing Kate is alright I want to do whatever I can to ease the impact of this horror, I know I can’t do much, but I can get her anything she needs, and hopefully be a positive crutch. Long term/ career wise: I won’t be upset if I lose my job, I need new direction in my life, I just hope that the wounds created can begin to heal. I’m heartbroken. Long term I don’t know where I’ll be, though I would like to remain in a linguistic department. Aspiration: It’s silly to say out loud, but I would love to win the lottery. I wouldn’t say I have a gambling habit, I just like the hopeless idea of winning the lottery, now more so then ever. I could retire, spend more time with mother, this whole ordeal has really emphasized the importance of family, and to write. It wouldn’t even matter if no one was interested in publishing my books, as I wouldn’t need the money. If someone was interested I would definitely pursue the idea, but most importantly, I’d be writing for me.

10 Generalizations regarding Martha’s personality:  Doesn’t like conflict  Doesn’t show her full potential within her work  Timid  Optimistic, “I have what I need”  Considerate, regarding kate and her mother  Doesn’t reveal desires, catch glimpse of hope of winning the lottery and her feelings of hatred towards her job

Based on the Nrittam in Kathakali13 I applied similar concepts to the development of Martha’s movement. I realized; ‘character movement, or mannerisms are essential within the portrayal of characters’. Based on Martha’s personality I experimented with ways to display it through subtle character action:

Figure 17

Realizing Costuming-

13 Kutty, Kalamandalam Govindan. Kathakali: The Dance Theatre. Calcutta, India : The Asiatic Society, 1999. Print. p. 16.

11 Costumes allow further development of character. Kathakali influenced my choices with its elaborate variety of case specific costumes for the leg, torso, etcetera14 Choosing “correct” costumes was important for creating characterization beyond the text, creating the first impression the audience receives. Also, descriptions for each character were vague, leaving a lot of freedom for the designs.

Martha-

MARTHA: Anything up to mid-fifties, glasses, mousy, literal-minded, timid. Very slight limp. An American flag lapel-pin.

Figure 18: Martha’s Character description

From her character description Martha’s physical appearance was altered, portraying her in her early-thirties. This allowed a more accurate representation of her character, which made her more relatable to myself. Martha’s Costume: Hair: pulled back, low-messy bun Glasses: thin frames Other accessories: classic pearl necklace, American flag pin Top: three quarter length, wine-coloured Bottoms: grey dress pants, three buttons on either side at waist Shoes: plain, black boots

Aims for Martha’s costume:  Highlight personality o Some form of business attire  Impression of warmth/comfort o Top wine coloured: positive nature  Grey pants/black boots: looks office suitable  Accessories indicate subtleties in personality o Glasses: “bookworm” inclination, thin frames show fragility of character o Pearls: “bigger and better things” she wants to accomplish o American Flag pin: in script, represents although she desires change but accepts position in life

Figure 19

14 Ibid, p. 14-15.

12 Figure 20: Kate’s character description KATE: Mid-forties, red hair, extravagant turn of speech, acid-tongued, inappropriately dressed for work

Kate- From her character description Kate’s physical appearance was altered, portraying her in her early-thirties, allowing a more accurate representation of her character, by being more relatable to the actor playing her. Also her hair colour was changed to simplify her costuming. Kate’s Costume: Hair: loose, untidy Top: grey V-neck, plain Bottom: black pants Shoes: white sneakers Other accessories: large grey purse, black pea coat

Aims for Kate’s costume: ‘Inappropriately dressed for work’, three interpretations; “let herself go”: result of tragic ordeal “overly exposed”: low top, would work with her attitude /cares little about others options “disheveled”: some attempt, but still shaken. Chose third option: Grey sweater/black pants; nothing wrong, looks unpolished because of no accessories Hair: untidy, looks “frazzled” White sneakers: not ready for work

Figure 21

Bill J-

13 BILL J: Mid-forties, WASPy, earnest. A flag lapel-pin.

Figure 22: Bill J’s character description

Bill J’s description fit my vision of his physical appearance, therefore no changes were made.

Bill J’s Costume: Hair: curly Glasses: large lenses, thin frames Top: blue button-down shirt, grey sweater Bottom: neutral pant- brown/beige Shoes: loafers/leather shoes, mahogany colour Other accessories: American Flag pin, belt, clipboard with pen

Aims for Bill J’s Costume:  Business attire o With friendly/approachable nature: . Button-down shirt with sweater . Warm colours: blues, browns  American Flag pin: represents member of something larger o Someone effected by catastrophe, or corporate organization . Makes him a good link; HR

Figure 23

Reflection and Conclusion:

14 Creating my independent project portfolio had its challenges, testing the practical theatre skills I have accumulated within this course, though overall I found the piece to be well received. The opening visuals contrasted the humorous tone of the piece. Incorporating the video was ultimately the most difficult element of the performance. It required me to download the videos, and blend them together. Positioning the projector to play the videos was also difficult within the small area. Only two videos were used, depicting the images of the tower plus the news report. Despite these challenges the visuals impacted the audience, and the contrast further emphasized the idea of multiple perspectives behind one story. Furthermore, challenges occurred while creating the “Stanislavski character profiles”. The process of answering the “five W” questions, and finding the characters motivation was time-consuming, rereading the text several times, and additional thought required to apply the knowledge to the physical portrayal of the piece was unimaginable. Blocking any section required discussing the psychological events happening during the scene. Consequently the effort resulted in character portrayals, which allowed an empathetic connection with the audience.

I would have liked the method and concept applied to this piece to be fully embraced by the audience, however, this was not the case. Although I used the methods of Stanislavski and Kathakali I am unsure that the audience noted the character development beyond the guidelines of the text. If I were to make changes, I would use more action without words, demonstrating characterization occurs beyond the scripted dialogue. Beside this, I believe my other objectives were successfully met; provoking contemplation on perspectives in social, and professional settings. My experience has thought me wholeheartedly permitting personal thoughts and concepts to take physical form is exhausting, yet gratifying, even without complete success;

“Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets.”15

Works Cited: 15 McGaw, Charles, Kenneth L. Stilson, and Larry D. Clark. Acting is Believing . 10th. Boston, MA, United States: Wadsworth Cengage Learning Inc., 2009. Print. p. 236.

15 Berkowitz, Gerald M. “Stanislavski, Konstantin.” World Book Advanced. World Book, 2010. Web. 20 March 2010.

Kindelan, Nancy. Shadows of Realism: Dramaturgy and the Theories and Practices of Modernism. Westport, CT, Unites States: Praeger Publishers, 1996. Print.

Kutty, Kalamandalam Govindan. Kathakali: The Dance Theatre. Calcutta, India : The Asiatic Society , 1999. Print.

McGaw, Charles, Kenneth L. Stilson, and Larry D. Clark. Acting is Believing . 10th. Boston, MA, United States: Wadsworth Cengage Learning Inc., 2009. Print.

“Methods of Actor Training in the 20th Century.” Practical Theatre. ‘Ed’. Sally Mackey. Cheltenham, United Kingdom: Stanley Thornes Publishers Ltd, 1997. Print.

Reeves, Pamela. Let it Stand. One Act Play Depot, 2001. Print.

Reilingh, Maarten. “Method acting.” World Book Advanced. World Book, 2010. Web. 20 March 2010.

Simonson, Lee. The Stage is Set. New York, NY, United States of America: Theatre Arts Books, 1963. Print.

Zarrilli, Phillip B. Kathakali Dance-Drama: Where Gods and Demons Come to Play. London: Routledge, 2000. Print.

Wertheim, Albert. “Moscow Art Theater.” World Book Advanced. World Book, 2010. Web. 20 March 2010. Appendix A

16 Appendix B

17 Appendix C

MARTHA: You know I never like to make a fuss. You have to keep your voice down, though- (p. 6)

MARTHA: Oh. I don’t know Katie, I don’t know anything. I don’t know if website is one word or two. I don’t know if her hyphenate high yield, I can’t remember any fund names- … Oh Katie, hush. You must be quiet, they’re being really nice but they’re all over listening-… Oh Kate, please don’t not now – there’s so many people out of work- (p. 7)

MARTHA: Well, lost of people don’t now, Kate, and it’s not as though we need a lot to do our job, now is it? We only need green pens. (p. 8)

MARTHA: Would you [like a cup of tea] Katie? I can get it for you in no time it’s no trouble…I’ll go there for you, Katie, anything you want, you must be hungry, let me bring you something. At least a cup of tea. Let me get it for you, Katie. (p. 8-9)

MARTHA: No, but it’s all my fault ‘cause if I hadn’t begged you so, you’d still be a temp, and then you wouldn’t have gotten there till ten and- (p. 9)

MARTHA: Oh Kate, another little box! It’s even nicer than the last one. Can I put paper clips in it again? (p. 10)

MARTHA: We all get two free sessions. I saw one yesterday and I just cried and cried and then I felt much better. They’ll be here through tomorrow. I think you should go…Oh Katie, pleas. See one for me… (p. 14)

MARTHA: It’s not so bad here, really, and you’ll be home this weekend. We only do a four day week, you know. (p. 15)

MARTHA: Oh Kate, I couldn’t ask them. You know I never like to make a fuss (p. 16)

MARTHA: Stit. Stit. If Stet means “Let it stand”, I wonder if Stit actually means something. (p. 19)

MARTHA: (animated for the first time) –to tell HR! Our exit Interview for when I win the lottery!…The website one, when they first used Flash and everything kept crashing – “Thank you for your patients”, as in patients in a hospital. (p. 20)

MARTHA: And no one’s ever noticed expect you, so we’ll just leave them as they are. (page 21)

KATE: Ask my Co-woker how much she spends a week on lottery tickets. (page 26)

KATE: Martha has an ancient mother who needs settling for the day before she can leave. She was never on time. (p.28)

MARTHA: Oh, wonderful! Did you say we’re the only ones who care – KATE: - about the English language, yes. (p. 34)

MARTHA: Was that what he mean, the career counseling? Could he help me, do you think?...Oh this is so great! I hope he goes right to the top and tells them everything! (p.34)

MARTHA: (slowly and very deliberately) You know what, Katie? Sometimes management at Forward Fund is so exasperating it makes me want o exacerbate the situation. (normal voice) Legal know what STET means now, right? (p. 38)

MARTHA: Sorry. This is a rush. We have to reassure our shareholders their money’s in safe hands…Oh Katie! Me make a phone call, stir things up? You know I never like to make a fuss. (p.38)