This scene is dramatically effective because it contains conflict, contrast, emotion, surprises and a little humour and tension.
The conflict is the initial trouble between Rodolfo and Eddie, mixed with embarrassment that helps to produce the anger during the boxing match/fight between them. The fight itself began, as a lesson but, towards the end we can tell along with, it seems the actors that it became more serious. This I find dramatically effective because any sign of a fight will immediately catch your eye, so you become interested. This I hope will be the same reaction the audience will have with this fight scene. Also in this scene there are conflicting emotions between Eddie and Rodolfo and the tension expressed between the two will hopefully be found gripping by the audience.
The contrast involves all the characters at one main section of this scene. This is during the middle of the fight when Catherine returns to the kitchen, while just before this, the other characters are laughing. When Catherine returns she is shocked, angry, afraid and upset because of what she is witnessing. These are all portrayed in her line "what are they doing?"
Even though this scene is very short, (two pages long) there are many emotions. These include anger, (between Eddie and Rodolfo) shock, (mainly by Catherine during the end and after the fight) fright, (this is only in a small dose as Eddie challenges Rodolfo) smugness, while Eddie is developing his plan at the beginning of the scene and Embarrassment. This occurs in about three places, the first when Rodolfo has to admit that he doesn’t know how to fight. The second when he staggers after Eddie has hit him hard and lastly at the end when Marco proves to the smug and pleased Eddie that he is weak. This is because he can’t lift the heavy chair above his head like Marco. There is also worry that is projected towards Rodolfo after he has staggered during the fight.
The only humour is at the part that they find Rodolfo’s triumph and pleasure in doing well and being congratulated, amusing. At this point the whole group laugh. This occurs at the beginning of number seven, with the stage directions as follows "(Rodolfo jabs at him, laughing. The others join)"
The surprises in this scene are mainly the fight itself but specific parts of it are more so. For instance when Eddie hits Rodolfo hard it surprises the characters so will most likely surprise the audience as well. Also some audience members might be shocked at the way Eddie tricked the whole family into believing that he was only going to teach Rodolfo and not actually fight him.
There is also tension. This occurs while Eddie is persuading Rodolfo to let him teach him how to fight. It also happens at the end of the scene between Marco and Eddie. You (as the audience) can see that their facial expressions towards each other, for instance the smug grin and worried look, that there is tension growing between them.
To help the actors portray their characters, I have written some director’s notes. I have numbered different areas in the scene, which link to the next sheet, which describes what I want the actors to be doing.
1 Eddie: You never seen a fight did you?
Marco: (uneasy) Only in the moving pictures.
2 Eddie: (goes to Rodolfo) I’ll treat yiz. What do you say, Danish? You wanna come along? I’ll buy the tickets.
Rodolfo: Sure, I like to go.
3 Catherine: (going to Eddie; nervously happy now) I’ll make some coffee, all right?
Eddie: Go ahead, make some! Make it nice and strong. (Mystified, she smiles and exits to the kitchen. He is weirdly elated, rubbing his fists with his palms. He strides to Marco) You wait, Marco, you see some real fights here. You ever do any boxing?
Marco: No, I never.
4. Eddie (to Rodolfo) Betcha you have done some, heh?
Rodolfo: No
Eddie: Well, come on, I’ll teach you.
Beatrice: What’s he got to learn that for?
5 Eddie: Ya can’t tell, one of these days somebody’s liable to step on his foot or sump’m. Come on Rodolfo, I show you a couple a passes (He stands below table).
Beatrice Go ahead, Rodolfo. He’s a good boxer, he could teach you.
Rodolfo: (embarrassed) Well I don’t know how to – (he moves down to Eddie)
6 Eddie: Just put your hands up. Like this, see? That’s right. That’s very good, keep your left up, because you lead with the left, see, like this. (He gently moves his left into Rodolfo’s face) See? Now what you gotta do is you gotta block me, so when I come in like that you – (Rodolfo parries his left) Hey that’s very god! (Rodolfo laughs) All right now come into me. Come on.
Rodolfo I don’t want to hit you, Eddie
7 Eddie: Don’t pity me, come on. Throw it, I’ll show you how to block it. (Rodolfo jabs at him, laughing. The others join) ‘At’s it. Come on again. For the jaw right here. (Rodolfo jabs with more assurance.) Very good!
Beatrice (to Marco) He’s very good!
Eddie crosses directly upstage of Rodolfo
Eddie Sure, he’s great! Come on, kid, put sump’m behind it, you can’t hurt me. (Rodolfo, more seriously jabs at Eddie’s jaw and grazes it.) Attaboy.
Catherine comes from the kitchen, watches.
Now I’m gonna hit you, so block me, see?
8 Catherine: (with beginning alarm) What are they doin?
They are lightly boxing now.
Beatrice (she senses only the comradeship in it now) He’s teachin’ him; he’s very good!
Eddie Sure, he’s terrific! Look at him go (Rodolfo lands a blow.) “At’s it! Now, watch out, here I come, Danish! (He feints with his left hand and lands with his right. It mildly staggers Rodolfo. Marco rises).
9 Catherine: (rushing to Rodolfo) Eddie!
Eddie: Why? I didn’t hurt him. Did I hurt you, kid? (He rubs the back of his hand across his mouth)
Rodolfo No, no, he didn’t hurt me. (To Eddie with a certain gleam and a smile) I was only surprised.
Beatrice (pulling Eddie down into the rocker) That’s enough, Eddie; he did pretty good though.
10 Eddie: Yeah. (Rubbing his fists together) He could be very good, Marco. I’ll teach him again.
Marco nods at him dubiously.
Rodolfo Dance, Catherine. Come (He takes her hand’ they go to phonograph and start it. It plays ‘Paper Doll’).
Rodolfo takes her in his arms. They dance, Eddie in thought sits in his chair, and Marco takes a char, places it in front of Eddie and looks down at it. Beatrice and Eddie watch him.
11 Marco: Can you lift this chair?
Eddie What do you mean?
Marco From here (He gets on one knee with one hand behind his back, and grasps the bottom of one of the chair legs but does not raise it).
Eddie Sure, why not? (He comes to the chair, keels, grasps the leg, raises the chair one inch, but it leans ver to the floor.) Gee that’s hard, I never knew that. (He tries again, and again fails) It’s on an angle, that why, heh?
12. Marco Here. (He kneels, grasps and with strain slowly raises the chair higher and higher, getting to his feet now. Rodolfo and Catherine have stopped dancing as Marco raises the chair over his head.)
13. Marco is face to face with Eddie, a strained tension, gripping his eyes and jaw, his neck stiff, the chair raised like a weapon over Eddie’s head – and he transforms what might appear like a glare of warning into a smile of triumph and Eddie’s grin vanishes as he absorbs his look.
- Eddie, you begin your line with a smirky and questioning look. To help with this you can imagine that you have just come up with a plan to get back at Rodolfo. (Think of it as someone you dislike.) I want you to do this because it seems appropriate to the situation and your character. Marco, when you reply you need to look at him as if you are looking for answers – to the unusual question, in his face. This is because you are uneasy about the question and the way he asked it.
- Eddie walk up to Rodolfo saying to point of "What do you say," then with an enthusiastic grin, pause and say "Danish" along with a nudge. This is because you are calling him a name, and because you dislike him you grin meanly. Then Rodolfo reply as if you are proving to Eddie that his intimidation is not working, but afterwards you do give a slight uneasy grin. This is because he has worried you because he isn’t usually nice.
- Catherine is pleased that Eddie is trying to be nice to Rodolfo but is unsure why. So on this line you are happy and at the end smile. But as you turn towards the kitchen door you frown as you begin to think, why? Eddie you say your first part of the paragraph while looking at Rodolfo who is sitting uneasily in his chair, and follow the original, stage directions. Then you say the next sentences while boxing the air little. While he is doing this, all the other characters need to look at him strangely, this is because you find what he is doing weird. Apart from Beatrice. You need to look at him admiringly, this shows that you still love and support him. Eddie, you, while continuing to box the air, look at the others, their stares make you embarrassed and you begin to feel ridiculous, so you stop. This is to show that you are good and know what you are doing and also you ask a question end with rising intonation. Marco you then answer naturally "No, I never" with no inquisitive nature.
- Eddie, you begin "Betcha" with a nod towards Rodolfo and end "heh" with a nudge because you cannot believe that he would not have been in any fights. You are having a bit of fun with him because he looks and acts feminine so you are mocking him. Rodolfo, you then answer him with a little embarrassment, but some shock as if you are saying, "No, why would I get in a fight". This is because you aren’t very strong and masculine, you prefer to sing and cook. This is going against the natural, social, attitude of a man. Making it seem that he is no man, but a woman, because his hobbies are not thought of as masculine, from where Eddie comes from. So this makes Eddie feel unsure about fighting him, because, he is very feminine. This originates from the families Italian, poor background, where in that kind of society women are not equal to men. Instead they do not do hard labour jobs, they cook and sing for the amusement and comfort of their husbands and male relatives. Like in the line on page 33 when he is speaking to Alfieri, saying “… He sings, see. Which is – I mean it’s all right, but sometimes he hits a note, see. I turn around. I mean – high. You know what I mean?” From this you can tell that Eddie is unsure about Rodolfo, and does not like his feminine side. So all of this relates to how Eddie feels about Rodolfo singing and cooking. Eddie you then say with encouragement your line while jumping around and boxing the air. This is because you are trying to get back at him and embarrass him. Beatrice you then cut in and with a small amount of alarm say your line. This is because you don’t understand why he must learn, as it is much better not to fight.
- Eddie, on "sump’m" snigger a little and make a joke about this is because it is a silly example. On "Come on Rodolfo" you beckon him with your hand; this is because Rodolfo still hasn’t stood up. Then on a "couple of passes" bounce on the balls of your feet and box the air again. Beatrice you now change your mind about not fighting, so encourage Rodolfo. This is because you know that Eddie is good at boxing. Rodolfo while you reply, rub the back of your neck with your hand and look away, this because you are embarrassed.
- Eddie, take his hands and while saying the line put them into a boxing position, and smile mockingly then bring your hands away and show him some moves while saying the end of your line. Rodolfo say the line, while looking worried and shaking your head.
- Eddie, say the first two sentences and try and look triumphant as if nothing he does will actually hurt you. Then push at him and at the part where you say "for the jaw right here" point to your jaw and grin. Once he has jabbed at you reply with a grin and a laugh. Beatrice you then look at Marco. Grin and nod with your response. Eddie you goad at Rodolfo with your next line "you can’t hurt me". Rodolfo put on a serious face and seem angry with Eddie for making a joke about you. Eddie, you rub your chin with a fist give a little laugh and say the line encouragingly. Catherine come in through the kitchen door, make your eyes wide and be shocked as you have just seen the fight in progress. Eddie say up to the first comma of the line, with a growing anger and frown, then on "see?" nod.
- Catherine, say the line with beginning alarm, almost shouting and bring your hands up to your face, worriedly. (All of the facial expressions and tone of voice will emphasise what she is feeling and how worried and how shocked she actually is about the fight, and the health of Rodolfo.) Eddie and Rodolfo you are lightly boxing so jab at each other, sometimes blocking, sometimes not, sometimes harder than others, for instance knocking their head back further. Beatrice say your line while smiling and looking at Marco, then just before "he’s very good" begin looking up at the two fighting proudly. Then on that line, turn to the worried Catherine and put your hand on her shoulder to comfort her. Eddie you begin to breathe more quickly with a slight laugh and smile and say "look at him go!" with a sarcastic tone. Say "now, watch out, here I come," warningly. Just after that you feint with your left hand and on "Danish" land with your right. Rodolfo you stagger backwards and rub your head where Eddie hit you, because it hurts. Marco, you stand up quickly with a large warning frown at Eddie.
- Catherine rush to Rodolfo, remove his hand from his head and check it with a frightened, worried look. Then look at the slightly grinning and out breath Eddie, and with a scowl and angry voice say the line. (All of the facial expressions and tone of voice will increase the anger she is projecting towards Eddie.) Eddie you say the fist half of the line as a bit of a joke, with a small chuckle at the end. Then say the rest the rest of the line sounding apologetic, (while you are actually being sarcastic). Rodolfo you then say your line while looking at Eddie and beam as if you are challenging him. Then while looking at Catherine say the last section. Beatrice you then take Eddie’s arm and talk quietly into his ear so as not to embarrass him. You do this up to "Eddie;" then the last part normally so that every one can hear.
- Eddie say "yeah" while rubbing your fists, say the second part towards Marco then the last to Rodolfo who is trying to get Catherine to let him be, but do this while still talking to Marco. Marco you then move a chair the centre of the room. Beatrice and Eddie you are distracted by his movement from your only just started cups of coffee, lift your heads and watch while Rodolfo and Catherine dance in the background.
- Marco you then ask your question, with a superior and challenging tone. Eddie you then reply to Marco, while both of you place your coffee cups onto the table. Marco you begin to get down onto one knee look at him and say the line; "From here."
Eddie you then reply as if he were joking – "sure" then give a little snigger (this- a snigger, will emphasise Eddie’s smugness.) and say the next part of the line up to "I never knew that." You then take a break, and try to lift it and while breathing out put it down and say the ending. (Marco you are throughout his attempts smiling in the background).
- Marco you then "strut" and walk triumphantly towards the chair, get down, grasp it say "here" then take a deep breath and lift (while straining and breathing in and out). Every one then stops what they are doing; Catherine and Eddie stop dancing, and stare admiringly and shockingly at Marco, frozen in the same position.
- You then follow the original stage directions.
I have added some visual help for my costume and set designs, to add to this explanation. The apartment itself is modern, with two bedrooms, a main, living room, come dinning room a kitchen and bathroom. But, as the scene only contains the living room, and a view into the kitchen, these are the only two rooms on set, along with the door to the apartment. During the whole scene the kitchen door is left open, so you do see some of it. This means that there is a backboard, screen with kitchen decorating on it. This means that there is nothing three-dimensional in the kitchen. But this acts as an opening to bring cups of coffee into the living room via backstage. The living room it self, from the audiences left to right, has a large, 3 seated, modern sofa, a large pot in the background with thin branches and large, but thin twigs in it. Then moving round you come to the entrance of the flat, which remains closed during the whole scene, so is just painted on. There is also a wall lamp in-between this door and the kitchen, this to remains on throughout the scene. Then, more on central stage, there are three table chairs, a table, and a one seated lounge chair. Lastly, behind this last chair, in the background, is a large, very modern standing lamp.
There were to begin with many different ideas for costumes, but I have narrowed this down to one costume design each. Catherine’s costume is all tight clothing, showing off her womanly body. She is wearing a long-sleeved top, covering her neck also. This shows that it must be cool in New York, to wear that type of top. She is also wearing tight, long hipster jeans, and a belt. These show off her smooth skin and flat tummy, which therefor attract Rodolfo more.
Beatrice however is wearing loose clothing. Including, a long skirt, clinging at the hips, a loose, low cut, long sleeved top, and a necklace. These feminine clothes could be seen as something to attract Eddie, whom she loves, especially the low cut top. This showing that she still loves him and is trying to keep his interest. This shows that her confidence in his love for her might be dropping, so that she has to try harder to please him. This is shown in the scene on page twenty four, at the point (mainly) when Beatrice says; "When am I gonna be a wife again, Eddie?" in which the two have a row about there marriage and sex life, also Beatrice says "you don’t like me, heh?" This explains why she is trying to impress because she doesn’t believe that he likes her anymore.
Marco and Eddie in this scene are wearing similar things. Including a baggy, stained top, showing their hard days work, and old, dirty, baggy trousers, so as not to get any nice ones ruined. But, they are still modern, men’s casual clothes, but they have just been worn quickly. Rodolfo, in this scene is wearing, modern baggy jeans, with a purpose tear, a chain, a long, tight top, with a covering baggy t-shirt. These looks making him look like, in modern terms, a "skater".
I chose this scene because it is a vital step, in the steps towards his final fate. This is because he is trying to be nice to Rodolfo, but when he beckons him to fight, things become worse. As, the fight continues, it becomes more serious. Then at the point when Eddie hits Rodolfo hard, Marco feels that it is his duty to protect him, because he is feminine and not very strong. So this leads to Marco proving to Eddie that he is the stronger and that if Rodolfo does not want to fight him, he will and he will win. He does this, by proving that he can lift a heavy lounge chair. I also chose this scene because of the range of emotions it makes the scene more interesting, and this alone will catch the audiences attention.
