All are masked except Marianne, playing the role of Eliza. Our actors, accompanied by soft piano underscore, act out the story of Brandon’s early love.
Willoughby, who has since cruelly jilted Marianne. Her orphaned, illegitimate daughter fell prey to Mr. In it, he details the tragic history of a young woman he once loved (and who reminds him of Marianne). One other use of masks came in another sequence unique to our production, a pantomime which took place during Colonel Brandon’s Act 2 monologue. In the Regency, and still today, the servant class goes largely nameless and faceless. Finally, the Gossips also played a variety of servant roles, all of whom were masked (except the Dashwoods’ named servant, Thomas). Jennings, who acquired and detailed all the masks.) This was to heighten the sense of their isolation in a room full of strangers, and add to the nightmare quality of the scene after Willoughby publicly shuns Marianne. (A huge thank you to Jennifer Netting, our Mrs. We also used more stylized masks for all the attendees at the London ball–except for Elinor and Marianne. The cloak of anonymity makes it safer to spread poison. The masks also served as metaphorical commentary on the anonymous quality of gossip, one of the things which allows it to do some much damage. (An exception was the actress playing Lucy Steele, who had a different gown for her Gossip role.) These simple masks were attached to eyeglass frames for ease, since at times the Gossips had to become named characters in mid-scene. We chose to mask our Gossips, again for clarity, since they (mostly) did not change costumes for their named characters. Gossip 2 (Naomi Eddy) masked and ready backstage
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