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Mary Queen of Scots Got Her Head Chopped Off a play by Liz Lochhead Designed for the stage by Becky Hollis
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Design Statement This design book has been created with the intention to be printed as a hard copy. Therefore, all smaller pages in this PDF should be interpreted as inserts.
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Concept Statement
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Characters Supporting Characters
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Synopsis
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Research
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16th century
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1980’s
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Development
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Queens & Maids
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Leezie & Mairn
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La Corbie
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The Court
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John Knox
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Supporting
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Set
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Final Designs
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Final Photography
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“National flower: the thistle. National pastime: Nostalgia National weather: smirr, haar, drizzle, snaw!�
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Mary Queen of Scots Got Her Head
Chopped Off, a play by Liz Lochhead, examines the titular tragic figure. Lochhead’s play explores the time from Mary Stuart’s return to Scotland until her death in 1587. The text uses key historical events to lead the timeline along, whilst simultaneously playing with anachronistic details and symbolism to bring the story into a contemporary context.
Written
in 1987, marking the 400th anniversary of Mary Stuart’s death, the play explores a range of themes: religious intolerance, gender and power, national identity, politics and class relations. These themes are not only significant to the historical setting but also within contemporary Scotland. The play encourages a cross examination of our past and present, and a questioning of the prejudices that still exist today.
Mary
Queen of Scots Got Her Head Chopped Off will be presented as a site specific performance in Govanhill Baths. The Edwardian bath house closed in 2001 but reopened in 2012, repurposed as a community centre and arts venue. In 2013, Liz Lochhead performed at the “Govanhill Poetry Splash”.
Now over 100 years old, the mid refurbished, repurposed building will compliment the anachronistic themes and design of the play. The swimming lane lines of the pool will act as the divide between England and Scotland. Within the empty pool, the characters will be immersed within a playground. The playground setting will not be used literally until the final scene ‘Jock Thamson’s bairns’ in which the characters are “stripped of all dignity and histocricity‘’ and become 20th century street children.
Lochhead
is faithful to key historical figures throughout Mary’s time in Scotland. However, through an anachronistic lens these characters can be viewed from a new perspective. Against the backdrop of a playground, the characters will be costumed in an amalgamation of 16th century and 1980s clothing.
Lochhead’s
play reminds us that history is a presentation of key events, and it is up to the viewer to interpret what came in between. Through design, this interpretation of Mary Queen of Scots Got Her Head Chopped Off is exploring history while simultaneously filling in the missing pieces through an eclectic and contemporary lens.
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La Corbie: Mary: Elizabeth: Marion: Bessie: Bothwell:
Darnley: Riccio:
John Knox:
Commentator Queen of Scots Queen of England Maidservant to Elizabeth Maidservant to Mary Prominent Scottish nobleman and third husband to Mary, Queen of Scots The second husband of Mary, Queen of Scots Private secretary of Mary, Queen of Scots Leader of the Scottish Reformation
Mairn:
Tough teenager
Leezie:
Tough teenager
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Advisors Ambassadors Commoners Dancer Fiddler Mummers Nobles
“Once upon a time, there were twa queens on the wan green island, and the wan green island was split inty twa kingdoms. But no equal kingdoms.”
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Mary Queen of Scots Got Her Head Religious intolerance is presented, Chopped Off explores the relationship between its titular character, Mary, and her cousin, Elizabeth I of England. The play leads us from the time of Mary’s return from France to Scotland in 1561, until her beheading in 1587. The play uses historical details and characters to guide us through, however, it is an illusion of reality. The play challenges the viewer to examine themselves, and the similarities between 16th century Scotland to contemporary Scotland.
We are presented with two queens;
Mary, Queen of Scotland and Elizabeth I of England. The play explores the relationship between the cousins and their subsequent relationships with other historical figures: John Knox, James Hepburn Earl of Bothwell, Henry Stuart Lord Darnley and David Riccio.
primarily through the character of John Knox, a key figure in Scotland’s reformation. We are shown his bigotry throughout, and his fear of female power. Both Mary and Elizabeth’s female strength, while contrasting, is evident throughout the play. Mary’s strength comes from embracing her femininity and sexual power. Elizabeth, however, refuses and rejects gender norms. Her strength is presented through her suppression of her sexuality and a ruthless drive towards her ultimate political agenda.
The
play continues to follow significant moments in Mary’s time in Scotland: her marriage to Darnley, the birth of her son James, the murder of her private secretary Riccio and eventually, her capture. Elizabeth is presented as a key influence throughout Mary’s reign, using Mary as a pawn in her political games. The play leads us to Mary’s titular demise, however it stops short of presenting her execution. Instead, the historical characters are transformed into children, singing nursery rhymes and bullying a young Mary.
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Franรงois Clouet portrait
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Womenswear
The silhouette for women saw a V-lined waist, with skirts creating a bell shape. The front of the skirt had a parting to show an underskirt. The dress bodice often included boning to create a flattened silhouette and sleeves narrowed down to the wrist ending with ruffs. The shoulders often had a wing or padded roll in order to hide the ties that connected the sleeves and bodice. High collars can be seen throughout the mid century, accessorised with a ruff. The quality of ruff and height of the collar was a sign of status.
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Menswear
Menswear featured a shirt, topped with a doublet, then a jerkin with shoulder wings. Over this a cloak or cape would be worn. The silhouette widened on the bottom half with trunk hose either paned or pansied.
For men, collars that featured lace ruffs were at extreme heights in England during the 1560’s, a symbol of status and wealth.
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Mary,Queen of Scots When Mary arrived in Edinburgh in 1561 she brought a lot of her elite and costly French wardrobe. Mary’s wardrobe featured gowns of silk, velvet and brocade and many of her subjects had never seen such embellished garments before.
Mary had a variety of coifs, veils, hoods and bonnets embroidered with silver, gold, silk and pearls. Although such displays of wealth were typical for a member of royalty, it attracted disdain from John Knox. Knox was always keen to express his disapproval and condemn any female figures in power that he viewed as acting immorally.
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Queen Elizabeth During Queen Elizabeth’s reign, dress was used to portray social hierarchy. Once becoming Queen, Elizabeth wore expensive and extravagant clothing for political means. Her extensive wardrobe was full of rich fabrics in many colours.
The gowns were adorned with elaborate surface details and jewellery, further indicating her social ranking and wealth. Elizabeth commonly wore pearls, a symbol of virginity; her dress suiting her for the role of the ‘Virgin Queen’. As her reign continued, sleeves and ruffs became larger, with textiles becoming more heavily decorated.
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Hans Eworth portrait
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Mary’s Prison Embroidery
Mary spent the last eighteen years of her life held in detention, issued by Elizabeth. Domestic needlework was a popular pasttime during this time and Mary spent her remaining years creating
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embroidered panels. The subjects of Mary’s embroideries range from honey bees and dogs to dolphins and unicorns. Most of these motifs were drawn from woodcut illustrations and botanical books.
Textiles
Fashion during the mid 16th century saw an increase in opulence. Materials were embellished with gold and silver embroidery, jewels and pearls.
The textile technique Blackwork was used on shirts and chemises, particularly on the cuffs and collars. Coifs and bodices were embroidered with plaited braids featuring designs of nature such as flowers and fruits.
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To m Wo o d p h o t o g r a p h y
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Streetwear
Liz Lochhead uses anachronistic detailing within the play such as polaroids and paper aeroplanes to emphasise that the plays themes are relevant in both historical and contemporary periods. Aligning my research to when the play was written (1987), I explored streetwear within photography of the mid to late 1980s. Street photographers Tom Wood, Martin Parr and Rob Bremner captured moments of regular British people in their day to day wear.
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Outerwear such as puffer jackets, cardigans, sweaters and zip-ups are seen throughout 1980s street photography. There is an emphasis on practical materials that are warm and waterproof, particularly appropriate for British weather. Hooded waterproof jackets are oversized with puffy sleeves and metal zippers are a prominent feature. Dungarees, sports shorts and jogging bottoms focused on comfort. Tracksuits worn are made from cotton jersey, velour or nylon.
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Shell suits
During the 1980s, the shell suit was synonymous with street style and was worn by children and adults alike. The jacket was generally oversized with an elasticated waist. The sleeves were puffy with an elasticated cuff. The matching trousers were loose fitting and elasticated at the waist and around the ankle. Shell suit colours were bold and brash with contrasting zips and collars.
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Martin Parr photography
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Ice Cream Wars
The childlike image of an Ice Cream van became the front for illegal activity in the East End of Glasgow during the 1980s. Rival Ice Cream truck vendors developed a turf war which turned violent. This gang warfare reflects the political divide within the play.
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Ice Cream Boards
Ice cream menu boards are bold to draw in the customer. Menu items are listed with their pricing alongside. The colour tone for the costumes will come from the bright and pastel menu boards of 1980s Ice Cream trucks.
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Martin Parr photography
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Plastic Bags
The one item that crops up again and again in the street photography of the mid 1980s is the branded plastic bag. From Tesco to Kwik-Save, the branded shopping bag is carried around almost religiously.
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Children’s Drawings
Children’s chalk drawings and crayon sketches are erratic and free. The world is simplified through their eyes; they are yet to learn how to represent things realistically. I was inspired to use childlike visuals from Lochhead’s final scene. Lochhead transforms the historical characters into 20th century street children to encourage the audience into questioning what we know to be historical truth.
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Martin Parr photography
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Working upon the 16th century and 1980s research, these two time periods will be fused. With the use of collage, stand work and sketching, costume and set design will be realised
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Queens and Maids
The depictions of Mary and Elizabeth are faithful to the history of these Queens however through depictive methods Lochhead encourages us to view the historical figures from different perspectives. This will be represented in the design; combining time periods to create new frames of reference.
The actors playing Mary and Elizabeth double as Marion and Bessie, maidservants to the Queens. The costumes must be easily interchangeable as the actors jump from character to character and scene to scene. Aspects of historical dress, such as removable sleeves, will help this part of the design.
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Shell suits
The typical 16th century silhouette is combined with the full coordinated 80’s shell suit. Substituting the underskirt for tracksuit bottoms fuses together the two time periods with a touch of humour.
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Stand work
The high collar silhouette connects the two time periods. The stand work here shows an 80’s fleece shaped into a bodice. Details such as drawstrings and zippers help to juxtapose the 16th century shape with a more contemporary style.
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Puffer Jacket
The 1980s puffer jacket is used to emulate the classic Queen Elizabeth silhouette. The quilted style of a puffer jacket is extended into the skirt.
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Ruff
The ruff is a significant item in 16th century fashion. Here, the ruff is made into an oversized jacket collar, bringing it into a 1980s style.
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Mary Toile Fitting
The fit of the bodice could be taken in slightly at the waist for the more typical Mary style. The cartridge pleating allows for more metres to be added to the skirt. The tracksuit trousers can be taken up as they were sagging too drastically for the 1980s style.
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Elizabeth Toile Fitting
The ruff collar height sits well for the Elizabeth look. However, a collar support can be added to allow it to remain upright. The wheel farthingale affects the jacket silhouette and needs to be altered to finish at the hips.
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Two in One
Like 16th garments in which the sleeves could be removed, the shell suits will exhibit the same feature with poppers. Once the sleeves have been removed, the vest jacket will be reversible, also a feature of 1980s garments. The reversed jacket will become the Maids costume. The overskirt features a clip buckle to be easily taken on and off as the characters alternate between Maids
and Queens. The activity of removing these garments will be part of the action, as if the Maids are dressing the Queens in their chambers. The set design will be utilised for this action, with detachable sleeves draped over the swings and skirts hung up on washing lines.
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Bodice
Worn underneath the shell suit jacket, the bodice will become a feature of the costume once the jacket is unzipped.
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Bum bags
The 16th century bum roll is substituted for a 1980s bum bag. When the Queen’s farthingale is removed to become the maid, the bum bag can be brought around to the front.
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Scrunchie
Here, the scrunchie, a popular hair accessory throughout the 1980s, has been made with 16th century embellishment. Both Queens will wear their hair in typical 1980s high ponytails.
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Trainers
The Adidas Superstar trainers were a popular shoe style of the 1980s. Pearls have been added to the leather stripes to add a 16th century detail.
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Plastic begs featured throughout the 1980s street photography research.
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Cross stitch rose on plastic bag
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Sample I Rose cross stitch on Hessian fabric Sample II Plastic bag design cross stitch
Sample I Canadian smocking plastic bag Sample II Cross stitch rose on plastic bag print
Hand embroidery on Elizabeth portrait
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Hand embroidery on Street photography
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Plastic Bag Ruff
Lace can be seen throughout 16th century portraiture while plastic bags can be seen throughout 1980s street photography.
Using stand and collage work, I combined both ubiquitous materials to create 20th century ruff ideas.
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Sample I Kwik-Save plastic bag print on lace Sample II Tesco plastic bag print on lace
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Pearl beading on 1980’s plastic bag 97
Samples Beadwork on various fabrics
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Ice Cream Embroidery
Here, images of menu items from ice cream trucks are being used in place of traditional 16th century motifs. The base of the pattern remains the same but the focus is different. Mary and Elizabeth have each been assigned a different colour and ice cream theme in order to highlight their stark difference as Queens.
The pastel colours chosen for Mary reflect her femininity while the brighter colour choice for Elizabeth reflects her power and strength portrayed throughout the play. The characters of Marion and Bessie, the Queens maidservants will wear hand drawn versions of their Queen counterparts design a ‘knock off’ version.
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Left: Hand embroidery on jacket Right: CAD Machine embroidery
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Sample I Mary print and embroidery sample Sample II Elizabeth print and embroidery sample
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Leezie & Mairn
In Act I, Scene VI the actors playing Mary and Elizabeth are transformed into Mairn ‘a poor wee beggar lass’ and Leezie, ‘her tarty companion’. Both appear as part of a crowd of onlookers cheering Queen Mary’s progress through the capital city.
Their costumes will closely resemble that of Mary and Elizabeth’s in colour. However through the use of rougher textiles and alterations to silhouette, we can see their contrasting social status against the Queens.
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Silhouette
For the characters of Mairn and Leezie, younger silhouettes are used to highlight their lower social class. Instead of full shell suits and long skirts seen on the Queens, the teenage characters wear shorts, school kilts and jackets tied around their waist.
They wear plastic bags as bodices and torn jackets as doublets in a desire to replicate the Queens they admire. Leezie and Mairn are less about a full coordinated costume, and more about a scrambling together of garments.
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Textiles
Hand painted pocket
The childlike print of plastic bags becomes more significant on the characters of Mairn and Leezie, highlighting their lower status. Fabrics are felted together to create a rough, street like texture.
Instead of real pockets and buttons, they are messily hand drawn on. Textiles are embellished with plastic straws, pulltabs and bottle caps, items found abandoned on the street.
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Samples Felted textiles to create rough street like texture
Sample I Tea stained fabric stitched onto plastic bag Sample II & IV Hand painted tartan vinyl with embroidered plastic straws Sample III Hand painted pocket
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La Corbie
La Corbie is the narrator of the action. A commentator that questions received ideas and values. The importance of national identity is a significant motif in the play.
La Corbie acts as a reminder of past and present Scottish culture. La Corbie sits outside of the historical action, irreverently peering in.
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Costume
Combined with a ‘granny’ like style, La Corbie is an amalgamation of items and features found in Glasgow streets such as trash cans and graffiti. La Corbie’s costume is eclectic, wearing items as if collected
over time from a charity shop. Using a range of techniques such as felting, latch hooking and free machine embroidery, La Corbie is weathered and ‘raggedy’.
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Latch hooked tartan
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Sample Row I Graffiti felting Sample Row II Felted fabric blend Sample Row III Gingham variations
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The Court
The characters Riccio, through the wearing Darnley and Bothwell of the most trendy will be costumed in an of 80’s sportswear amalgamation of 16th styles. As well as being and 20th century male synonymous with the styles. Their nobility 1980s, sportswear and and royal status branding was worn to will
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highlighted signify material wealth and street credibility.
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Doublets
Here, details such as zips, pockets and drawstrings have been added to the traditional silhouette to create a tracksuit style doublet.
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Branding
Here, well known sports brand items are styled into 16th century dress. The work on the stand shows an Adidas three stripe tracksuit top turned
into a 16th century doublet. The striped sleeves are shaped into shoulder wings.
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Stand work Here, 1980s garments such as tracksuit tops and puffer vests are transformed through the addition of 16th century details.
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Trunk hose
Here, the 16th century trunk hose are adapted into popular 1980s fashions such as tracksuit bottoms, athletic shorts and dungarees.
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Bothwell Toile I Fitting
The ’track hose’ sit too high up the waist and need lowered. The fit of the calico jacket works well however the doublet cap sleeve needs width added.
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Bothwell Toile II Fitting
The doublet jacket sleeve can be taken in along with the waist to fit more historically. The tracksuit bottoms need tapering at the hem to emulate the historical trunk hose and tight look.
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TThhe e CCoouur rt t 145
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Textiles
16th century fur cloak becomes 80’s flying jacket
Drawing smocking on suede jacket Traditional textile techniques of cross stitch, embroidery, devorĂŠ and smocking are used on sportswear fabrics. Furthermore, each royalty character is assigned
a different plastic bag print design. Neatly, the ones who do not survive in the play are wearing a plastic bag branded by a shop that also did not survive.
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Sample I Adidas plastic bag appliquĂŠ Sample II & III Cross stitch sports stripe Sample IV Felted wool check on jersey
Sample Embroidered lettering on wax cotton
Sample I Smocking on sports jersey Sample II Smocking on suede Sample III Smocking on stretch velour
Samples DevorĂŠ on Velvet
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Embroidery
In keeping with the styles of Mary and Elizabeth’s embroidery, Darnley and Riccio have each been assigned their own motif that is indicative of their character.
As her right hand man, Riccio’s Twister lolly design is similar in colour and design to Mary’s. Darnley’s repeated banana print, while indicative with the 1980s, also helps represent his fool like character.
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John Knox
The historical figure of John Knox, the leader of the Scottish reformation, is presented as rigid, intolerant and prejudiced. The designs of John Knox will sit apart from the other characters.
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Silhouette
The character John Knox’s silhouette is most in keeping to the historical figure. This is symbolic of his rigid and intolerant
character - it was fitting to maintain a traditional, and conservative representation of this figure.
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Textiles
Here, traditional felting techniques are used to create a tartan which sat in line with John Knox being such a prevalent Scottish figure.
The purple and orange colour scheme was chosen as a clear representation of his link to the Orange order as described by Lochhead.
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Supporting
In this blending of time periods, Royal Ambassadors become school boys and Advisors become football fans. The Nobles brand themselves in sportswear and the Commoners wear tracksuits.
The Mummers, characters who pause the action of the play, are Lollipop men. The use of primary colours for these characters aligns with the set design, allowing them to stand apart from the lead roles.
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Costumes
20th century characters are collaged together with 16th century paintings; regal portraits become school boys, lollipop men wear doublets and football fans are dressed in trunk hose.
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Concept
Govanhill Baths
The entirety of the play will set itself within a Glasgow playground. The playground setting will not be used literally until the final scene ‘Jock Thamson’s bairns’ in which the characters are “stripped of all dignity and histocricity‘’ and become 20th century street children.
A playground, while usually associated with innocence, is used by these historical adult figures throughout the play. The childlike playground further emphasises the idea that destructive, and arguably childish, behavioural patterns of both historical and contemporary figures seem set to continue through a new generation.
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Design
The playground will be primary colours, which coincide with the colours of Govanhill Baths. The actors will interact with the playground set, using swings and roundabouts as part of the action.
The slide will become a bed in Act I, Scene VII and the play tower will be used as Mary’s execution platform; turning an innocent object into a death instrument.
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La Corbie Jacket in latch hooked Graffiti design with ‘bin-bag’ cuffs Smock dress in hand-pained & embroidered gingham Apron and Headscarf in organza embroidered Graffiti design
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Mary Act I Shell suit jacket in pink & green taffeta with hand embroidered Ice-cream print Shell suit trouser in pink, green taffeta and Ice-cream print taffeta Cartridge pleated overskirt in pink, green and Ice-cream print taffeta with clip buckle
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Bessie Act I Shell suit vest in pink & green taffeta with felted Kwik-Save design Shell suit trouser in pink, green and Ice-cream print taffeta Bodice in ‘kids style’ Ice-cream print taffeta
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Elizabeth Act I Shell suit jacket in pink & yellow taffeta with hand embroidered Lolly print Shell suit trouser in pink & yellow taffeta Cartridge pleated overskirt in pink, yellow & Lolly print taffeta with clip buckle
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Bessie Act I Shell suit vest in pink & yellow taffeta with felted Tesco design Shell suit trouser in pink & yellow taffeta Bodice in ‘kids style’ Lolly print taffeta
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Bothwell Tracksuit top in aqua velour with white trim & piping Track hose in aqua velour with white trim & piping Doublet jacket in ‘kids style’ crayon print and fleece lining with embroidered Sainsbury’s lettering
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Darnley Waterproof body warmer in blue ripstop, Banana print and raised embroidery Banana with paned Supersave fleece sleeve. Dungaree trunk hose in yellow and blue wool Shorts in yellow with blue striped trim
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Riccio Jacket in blue denim with pink seams Shorts in ‘kids style’ Safeway print Jumper in pink and green mohair Paned trunk hose in green ripstop
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John Knox Overcoat in orange and purple felted tartan with ‘kids style’ scripture lining Shirt in white cotton Jumper in felted orange wool Trousers in purple and orange felted wool
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Mairn Raincoat in felted check PVC with ‘gum stained’ beads Bodice in waterproof ‘kids style’ Kwik-Save print Kilt in hand-painted PVC tartan
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Leezie Puffed sleeve jacket in felted pink & cream striped cotton with lattice ‘pull-tab’ embellishment Bodice in waterproof ‘kids style’ Tesco print Shorts in hand-painted yellow denim ‘pull-tab’ buttons
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Mary Act II Quilted Jacket in pink taffeta with Kwik-Save letter embroidery & beading Detachable hood in pink taffeta with Kwik-Save lace trim Shell suit trouser in pink taffeta Cartridge pleated overskirt in pink taffeta with clip buckle
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Mairn Act II Bodice in ‘kids style’ Ice-cream print taffeta Shell suit trouser in pink & green taffeta Bum bag in pink taffeta
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Elizabeth Act II Quilted Jacket in yellow taffeta with Tesco embroidery and ruff collar in cream taffeta & Tesco lace Shell suit trouser in pink & yellow taffeta Gathered overskirt in yellow taffeta with clip buckle Bum bag bum roll in yellow & pink taffeta
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Bessie Act II Bodice in ‘kids style’ Lolly print taffeta with pink bias binding Shell suit trousers in yellow & pink taffeta Bum bag in yellow taffeta
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Dancer Sports jacket with paned sleeves in pink smocked taffeta and felted yellow & pink check Bike shorts in pink ripstop Sports shorts in pink ripstop and felted yellow & pink check
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Fiddler Tracksuit top in mint taffeta with paned sleeve Leggings in ‘kids style’ scribble print jersey Bum bag in mint taffeta
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Advisors Puffer Jacket in red ripstop with word stitching Football shirt in blue jersey with felted white stripes Jeans in blue denim Glasgow Rangers scarf
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Ambassadors Sweater vest in blue wool with embroidered logo School tie in ‘kids style’ red and white striped poly satin Shirt in yellow silk with slashed sleeve detail School trousers in blue viscose rayon
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Commoners Zip jacket in blue nylon with cross-stitch detailing Trunk hose joggers in red & yellow ‘kids style’ scribble Zipper t-shirt in red & white ‘kids style’ scribble stripe
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Mummers Doublet vest in felted yellow ripstop with embossed reflective panel Jumper in red fleece with smocked cuffs Trousers in felted yellow ripstop with embossed reflective panel
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Nobles Bomber jacket in blue rayon with branded paned sleeves Trunk hose trousers in yellow felted corduroy
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20th Century Street Children
In the final scene of the play, ‘Jock Thamson’s Bairns’ the historical characters of Mary, Elizabeth, Darnley, John Knox, Riccio and Bothwell are transformed into children versions of themselves: Marie, Wee Betty, Wee Henry, Wee Knoxy, Richie, and James Hepburn.
The quick change into these characters will be shown through the removing of their historical garments. Mary and Elizabeth’s bodices will be unzipped to become jackets. Their over skirts will also be removed. Darnley, Riccio and Bothwell will remove their various trunk hose and John Knox will remove his overcoat and roll up his sleeves.
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Website: https://hollisbecky.wixsite.com/hollisbecky