Nought And Crosses Flashcards
(20 cards)
Original staging conditions
• first performed by Pilot Theatre in 2019 on an end-on stage
• play has an episodic and linear structure
• symbolic set - I would also use a symbolic set
Structure for lighting/set/staging question
• state extract and staging, original staging conditions
• why that type of staging is useful
• quotes and what can be used to go with it
• audience position
• structure of the play and how it affects the staging
Character question
• three paragraphs
• motivation, quote voice x2 and movement x 2 for these
• information about what is happening in the scene
• IF I CAN PICK (Callum p10 - 15)
Ideas for staging
• a door should be wheeled on - symbolic of the opportunities presented to Callum, however actively moved by Crosses across the stage, showing Callum doesn’t truly control it
• end on - feels close to audience, interactive, allows them to feel the same dissatisfaction Callum does that the opportunity is so near yet unreachable
• door begins in the corner, moved DS centre by the crowds - glass to show the fragility of the opportunity presented, how Callum believe it reflects him self.
• on, ‘No no no’ the door is moved around, we see Callum and Sephy becoming separated through the glass, it ends up in middle of them to form a mirror - reflections of each other.
• ‘blanker’ there is a gobo used to create a grid shape, we see that everyone is now involved in the game of Noughts and Crosses
• panels in the background like the original conditions - had been TV screens, now replaced with a Cross to show a win and a loss for Callum, glowing red as a representation of the danger.
• the props should be manually wheeled off
• bright spotlights should flash on the crosses - makes Callum’s lighting appear more dim and gives the appearance of a criminal
Rehearsal techniques
Hot seating - to explore subtext which give the characters more depth and complexity so the audience fully understand their motives
Question advice
• explain what’s happening in the scenes
How I would stage Noughts and Crosses - introduction
aired by Pilot Theatre company in 2019 on an end-on stage
symbolic
non-naturalistic set
to convey dystopian genre
also use an end-on stage like in original production
audience are closer to actors - makes conflict more visceral
How I would stage N and C - main body of staging
no panels like in og production
two oversized mirrors parallel to each other stage left and stage right , large perspex screen lowered upstage to cover two staircases which meet in the middle to create a platform
Shadow of Kamal can be seen leaving down the staircase through translucent screen- replaced by a TV broadcast of the protest
can escape conflict when needed - propaganda, imbalance of power
mirror stage left = has LEDS which signpost what scene/setting
brings mirror on a truck downstage centre - showing the way to equality
both run to mirror, turned round and they only see a reflection of themselves, no door
put hands on either side
S about to break the glass, but she is caught and dragged away
Original sound production in N&Cs
sound design played a pivotal role in immersing the audience in the play’s dystopian world
featured a dynamic soundscape crafted by Arun Ghosh and Xana.
Diegetic sounds, such as crowd noises, gunshots, and explosions, were employed to create a realistic atmosphere. Non-diegetic sounds, including musical scores, heightened the drama and manipulated audience emotions. For instance, the use of distorted static during bomb scenes and soft, hopeful sound effects at the end underscored pivotal moments in the story.
Sound design for scene outside Heathcroft - introduction
my aim in the scene outside Heathcroft School is to reflect the intense racial and political tension as Sephy attempts to enter a formerly all-Cross school, now open to Noughts. This moment reveals the societal divide, danger, and Sephy’s isolation. I will use a combination of diegetic and non-diegetic sound, directional effects, and underscoring to immerse the audience and heighten the dramatic tension.
Sound design for Heathcroft
create a layered diegetic soundscape of a growing protest. Distant chants, aggressive shouting (“No blankers in our school!”), and murmuring voices would fade in gradually - this heightens the sense of danger and foreshadows the growing escalation
use directional sound to place some of the shouting behind or beside the audience, making them feel surrounded, mirroring how Sephy feels entering a hostile environment, emphasising the scale of the protest and it’s intensity
Over this, a non-diegetic low-frequency drone would play quietly—almost subliminal—creating tension in the background. type of sound is felt as much as heard and signals that danger is close
amplification of her footsteps on gravel or concrete would be subtly increased to draw attention to her vulnerability in the space
When Sephy becomes visible to the protestors, I would sharply increase the volume and intensity of the diegetic protest sounds
Chants would overlap with boos and threats, building a wall of noise.
would use distortion and echo effects on some of the protestor voices—this abstract use of sound would reflect how overwhelming and surreal the experience becomes from her perspective
non-diegetic percussive underscore, like a quickening heartbeat, would fade in as she continues walking. The tempo would increase in sync with the rising aggression, creating a physical sense of panic for the audience. This underscore would be created using low tom drums and a sharp ticking sound, mimicking internal anxiety.
When a protestor throws an object (e.g. a brick or bottle), I would use a sharp, isolated diegetic sound effect—the smash of glass or a dull thud. Immediately after, I would cut to sudden silence, using sound contrast to freeze the moment. In this silence, Sephy’s breathing would be amplified—fast and shallow—to connect the audience to her fear
riot sounds would return in a muffled, distorted form—as though heard from underwater. This creates the impression that she is emotionally numb or dissociating from the trauma. A non-diegetic underscore of a low cello note, drawn out and dissonant, would be introduced slowly to underline her fear and isolation.
The scene would end with the cello fading into silence, leaving the audience with a lingering sense of unease and injustice.
Sound design for the riot scene
non-diegetic, low-frequency drone played through subwoofers to create a feeling of unease in the audience. This would be layered with a diegetic soundscape of a crowd gathering—muffled conversations, footsteps, and distant traffic—to ground the scene in realism. These diegetic effects would be panned across different speakers using directional sound to create an immersive environment.
a non-diegetic percussive underscore, resembling a heartbeat, to raise the emotional intensity. When the riot breaks out, the sound would shift abruptly. I would use overlapping diegetic effects: shouts, breaking glass, sirens, and running footsteps—amplified and slightly distorted to reflect the chaos and fear. The rhythm of the underscore would speed up, mirroring the pace of the action and simulating a rising heartbeat in both characters and audience.
use of amplification ensures all layers are clearly heard, even during overlapping dialogue or crowd noise. As Sephy is pulled away and Callum is attacked, the soundscape would become increasingly disorientating—layered, echoing, and distorted—to put the audience inside the characters’ experience of panic and confusion. The scene would end with a sudden cut to silence (removal of all sound), creating a moment of shock and forcing the audience to reflect on the violence they’ve just witnessed
Sound design for the execution scene
high-pitched non-diegetic ambient tone—barely audible but psychologically unsettling. This would create tension and mirror Callum’s inner fear. Under this, I would slowly introduce a non-diegetic underscore using a solo cello, playing a sound motif introduced earlier in the play, now slowed down and more dissonant to reflect how the characters’ hope has deteriorated.
diegetic elements—the metallic clank of prison bars, muffled footsteps, and Callum’s breathing—amplified to make the moment feel raw and intimate. This use of sound perspective draws the audience closer to Callum’s experience and heightens the emotional impact.
a moment of total silence—a powerful use of negative space in sound—allowing the audience to hold their breath with Callum. The gunshot would then be delivered as a sharp, amplified diegetic sound effect, with a slight delay after the blackout to catch the audience off-guard. The echo would ring out, suggesting both finality and the emptiness that follows.
slow, non-diegetic drone, fading gradually into silence. No music would play, only this barely-there ambient tone—creating a haunting, empty atmosphere that lingers with the audience and reinforces the emotional weight of the scene.
Lighting design for Heathcroft scene
cool blue wash (created using blue gel filters) across the stage to establish an early morning setting. This creates a sense of stillness and anticipation. A gobo projection of a school gate or chain-link fence could be used on the floor to symbolise the literal and metaphorical barriers between Noughts and Crosses. The gate gobo would be projected downstage, creating a visual boundary that Sephy must cross.
warm amber sidelight, low in intensity, on the protestors’ side to contrast with the cold blue light around Sephy. This juxtaposition of colour temperature visually represents the divide between the characters and suggests heat and aggression on one side, isolation on the other.
Sephy - tight white spotlight, separating her from the ensemble. strobe lighting at a low frequency as the shouting escalates, simulating the disorientation and panic Sephy feels. The strobe would be used sparingly, to avoid overwhelming the audience, and would be supported by flashing red backlights, symbolising danger and emotional heathis would visually isolate her and highlight her vulnerability. As the protest intensifies, the spotlight would narrow and increase in intensity, mimicking how the crowd’s attention closes in on her. Her facial expressions and movement would be clearly visible, allowing the audience to connect emotionally.
protestors - flood lights with a red-orange gel to light them in broad, chaotic sweeps. This would make their presence feel larger and more aggressive. Lighting operators would manually sweep across the stage at irregular intervals, reinforcing the sense of instability and confusion
when objects are thrown - snap blackout followed by an instant bright white flash, simulating a moment of shock and danger. This sudden contrast in lighting would disorient the audience and heighten the scene’s impact. Sephy would be left illuminated in a dim pool of light, while the rest of the stage remains in blackout—visually representing her isolation and emotional trauma.
As the crowd disperses or the scene transitions, I would use a slow fade to a cold blue state once again, creating a cyclical structure that reflects how this violence and division are part of everyday life in this world
Lighting for execution scene - intro
create a stark, high-contrast lighting design to reflect the brutality and emotional intensity of the moment
heighten tension and draw the audience into the injustice of Callum’s execution, emphasising themes of power, control, and loss.
Lighting for execution scene - main body of essay
begin with near-total black out - dread and foreboding
single cold white spotlight (using a narrow beam profile lantern) - isolates Callum centre stage
focused, hard-edged light would create strong shadows on his face, symbolising the dehumanising effect of the regime and making him appear vulnerable and alone
white tone also suggests the clinical, emotionless nature of the execution process, removing warmth and humanity
surrounding Callum - low-intensity blue side lighting to cast long shadows - isolation
Blue symbolises sadness and loss
sidelights would be angled to avoid fully illuminating the faces of the guards, turning them into silhouetted, anonymous figures - facelessness of state power, de-emphasising individual morality and focusing on the institutional violence
Sephy enters - soft amber wash from above to contrast with the cold light, symbolising her warmth and love
frame her as a beacon of hope
amber could fade in slowly to reflect her emotional vulnerability, before fading back to blue and white as the system overwhelms her presence
just before execution - white strobe lighting - simulates a camera flash or electric jolt - shocks audience
after execution -deep blue general wash, Callum’s spotlight fading slowly to black - soul leaving the stage
As the stage dims fully, I would allow a final, lingering backlight on Sephy in pale amber, showing that the emotional consequences of this act will remain with her forever
Lighting for execution scene - outro
My lighting design supports the scene’s themes and tone by combining colour symbolism, direction, and intensity to reflect character emotions and societal commentary. By isolating Callum and manipulating contrasts between cold and warm tones, the lighting draws the audience’s attention to the injustice of his death and enhances the emotional weight of the scene.
Original lighting for Noughts and Crosses by Joseph Drualus Pharo
Pharo’s lighting design played a pivotal role in establishing the production’s dystopian atmosphere. Utilizing neon and sectional lighting, he emphasized the structural qualities of the set and reinforced the modern setting. The lighting choices were instrumental in conveying the tension and emotional depth of the story, enhancing the audience’s engagement with the performance
Costume design for the Hadleys in Noughts and Crosses
Costume: Tailored formal wear in rich jewel tones (deep blues, purples, and golds) to emphasize status and control. Structured silhouettes, including high collars and fitted jackets, symbolize authority. Luxurious fabrics like silk and velvet enhance visual contrast against the McGregors. Kente patterns
Hair: Sleek, elegant styles—precise braids for women, reinforcing cultural tradition and discipline. Men wear clean-cut, short hairstyles, symbolizing order and hierarchy.
Makeup: Minimalist and polished, using subtle contouring to emphasize defined features. Gold accents incorporated subtly (e.g., eyeshadow or lipstick) to reinforce their dominance and wealth.
Costume for McGreggors
Costume: Muted, earth-tone color palettes (browns, greys, faded blues) to contrast the Hadleys. Worn-out textures (denim, cotton, distressed leather) reflect struggle and endurance. Loose-fitting garments represent a lack of rigid structure in their lives.
Hair: Messier, natural styles—women wear loose waves or simple ponytails, while men may have disheveled, longer cuts to contrast with the controlled elegance of the Hadleys. Hand-sewn headscarves or simple fabric wraps could be used to symbolize cultural heritage and endurance.
Makeup: Paler, less-defined facial features to visually set them apart from the Hadleys. Subtle smudging or slight roughening of skin texture using light foundation techniques creates a raw, lived-in effect. Dark circles subtly emphasized under the eyes to reflect hardship.
