an uneducated (and perhaps reckless) blue-collar worker. His pants are stained from a hard days work. His shirt is wrinkled and torn. Judging by his apparel, he does not intend to impress anyone with his intelligence. He looks every bit the part of a streetwise guy, who settles issues by his own rules or with the knife on his belt. Immigrants were mostly blue-collar workers, as well. Marco and Rudolpho wore jackets apparently torn en route to the United States. These jackets convey their determination and endurance to reach the land of milk and honey. Their costumes also illustrate the desolate conditions from which they came. These costumes, although subtle, played a key role in non-verbal communication with the audience.The acoustics set the mood in may parts of the play. For instance, when Eddie and Marco try to lift the chair, the rigid sounds suggest the level of tension between the two. Aside from background sounds and music, tone and volume entails what is behind Eddies dubious comments. When Eddie teaches Rudolpho to box, he presents himself in a seemingly harmless and playful manner. However, when Catherine comforts Rudolpho after Eddie punches him, Eddie raises his voice, although he pretends it was accidental. By raising his voice, Eddie inadvertently shows his insincerity. Marco, who is soft-spoken until this scene, hurries his words in a deeper tone while challenging Eddie to lift a chair. Everybody realizes the frustration of Marco through his restrained voice. He doesnt want to see his little brother hurt. At the same time, he doesnt want to risk deportation by angering Eddie. The sound was pivotal because it, too, communicated with the audience.The scenes are situational and domestic. Therefore, the actors must be realistic, ordinary, nonchalant, relaxed, casual, etc. However, when explosive and unexpected events take place the actors must adapt to the morphing chain of events. For example, Eddie kisses his niece in t...
