Cast in order of appearance:
Michael Colonessi.
Hannah.
Joseph Abrahams.
Young Man.
The action of the play takes place in Michael Colonessi's studio in 1850 London, and the National Gallery in present day London.
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Act One.
Act One. Scene One.
London. Winter. 1850.
Michael Colonessi's studio. Late night.
(Lights up)
The curtain rises on the room of Michael Colonessi in the East End of London. It is an abandoned warehouse overlooking the River Thames, and Colonessi uses it as both his studio and living quarters. The floor is bare, walls are cracked and show stains of mildew and dampness. There is a small window high in the upstage wall. The pains are cracked and dirty. Lighting behind this window changes as to time of day. Upstage R. there is a makeshift wood cot with shabby blanket and pillow heaped upon it. An artist's easel stands, with the back facing the audience, C. Stage. There are fruit boxes, used as tables, upstage L. and R. of the easel. On these boxes are an array of artist's tools; palette, brushes, knives and paints, as well as bottles of wine and old drinking goblets. A door, stage L. is the entrance to his room. Propped against the upstage wall of the room, is an array of items including, blank canvases, another artist's easel, Michael's hat and cloak. Lit candles are placed about the room. Stage lighting gives the effect of candle light and shadowy corners in this very bleak studio.
As the play opens Michael Colonessi is standing upstage of the easel, admiring his latest finished portrait. (The audience does not see this portrait, or any of the paintings throughout the play, until the final scene.). He is a man in his late thirties, once handsome, but already going to seed. It is evident that he does not take care of himself, and this is 1850, when most of England's population did not live to see 40. His hair is uncombed. His attire, while fashionable, is not well maintained and looks as though he has worn the same outfit for some time. Michael was born and raised in England to Italian immigrants, but speaks with an educated English accent. He has a very gentle, quiet demeanour. His only Italian trait, his family name and perhaps a fiery personality that rarely appears. Michael is very passionate about his art. He drinks alcohol all the time, but rarely shows outwards signs that he is drunk. He drinks from a bottle of wine.
(Voice heard offstage.)Hannah. Michael, what you doing?
(Hannah enters through doorway, Stage L. Her dress is bundled up about her waist as she struggles to untangle it.)
Hannah. It's bleedin' freezin' out there! A peasouper, that's for sure! It was that cold, I couldn't piss.
(Hannah is a whore in her twenties. She is a very pretty woman, but it is hard to see under her makeup and wig. Like Michael, her clothes are fashionable, a gift from him, but they are in bad shape. She is a true cockney, and speaks with a harsh, crude accent. Hannah is streetwise, and although unschooled, is a naturally, smart woman. She lives in one of the worst areas of London, and does what she must to survive, as long as it is honest. Michael is not her pimp and does not treat her as such. They enjoy each other’s company. At this moment, Hannah is very drunk and unsteady on her feet.)
Michael. Here, drink this. It will warm you. (He moves to the boxes, fills a goblet with wine and hands it to Hannah who is now standing L of the boxes.)
Hannah. (Taking the goblet and crossing to look at the portrait on the easel) Cheers! Down the ‘atch! (Drinks). P’rhaps I should piss in this goblet? (Crudely laughs)
Michael. I am sure that I could not tell the difference if I drank it. (He drinks from wine bottle.)
Hannah. (Laughs). Then why not purchase some quality wine? (Studying the portrait)
Michael. I do not care about the quality. I care about the quantity.
Hannah. "Ere, is this it? Your latest?
Michael. It most certainly is. Why do you think we are celebrating? (He joins her and studies his work)
Hannah. What you talkin' about? We always celebrate... It's very good. I mean, I like it. I like all of ‘em what you do. He looks well orf. Who is he?
Michael. Why thank you. That means much to me. (He puts his arm about her.) He is Lord... I cannot remember his name.
Hannah. Old Lord what’s his name? (They laugh)
Michael. Yes. That will do. (He kisses her and then drinks from the wine bottle. Realizing it is empty; he tosses the bottle into a corner, and crosses to the orange boxes to get another.) I really do not care what his or any of their names may be. I care only that Abrahams purchases my work and secures other commissions on my behalf.
