The Sugar Syndrome – Lucy Prebble

sugarsyndrome

First performed by English Stage Company at the Royal Court Theatre in London, October 16, 2003.  First produced in the US by the Williamstown Theatre Festival, July 27, 2005.

Original Cast:

Dani Carter (17)                                               Stephanie Leonidas
Jan Carter (45)                                                 Kate Duchene
Tim Saunders (38)                                           Andrew Woodall
Lewis Sampson (22)                                        Will Ash
Voices of the Internet

Director:  Marianne Elliott
Set Designer:  Jonathan Fensom
Lighting Designer:
  Chris Davey
Sound Designer:
  Ian Dickinson

Publication:  Prebbles, Lucy. The Sugar Syndrome. Dramatists Play Service, Inc. Drama Library PR6116. R42 S84 2006..

Setting:  England

Language:  Contemporary with British slang.

TIM

It’s only once you reach an age when you realize why you hate your parents that you become too polite to articulate it.

Genre/Style:  Serio-comedy

Plot:   A 17-year-old girl meets two strangers (a 22-year-old telemarketer and a 38-year-old convicted pedophile) online and develops relationships with them in real life.  Manages to be funny while dealing with serious issues; looks at pedophilia from the point of view of the pedophile.  Despite its subject matter, the play avoids being sensational or puerile.

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.25: Tim talks about his attraction to a little girl in his building

TIM

I just want to hear what her voice sounds like. (Smiles to himself.) She’s a little madam. At the weekend, she was sitting on the wall, with this cloth doll, she wasn’t even playing with it, she was watching her brothers. [Lines cut] So he takes the doll and he holds it over the skip like he might just drop it any second, but she just sits on the wall. Isn’t even bothered, so he’s got nothing on her. She just taught him a lesson and the doll can go hang.

p.33-34:  Lewis hasn’t been able to reach Dani for a while so he drafts an email to her, which he doesn’t send.

LEWIS

Dani. You absent bitch. I miss you. It’s been six days, man. I’m sounding a little bit mental, which I don’t like. I rang you again and no answer. I get the feeling you’re actively not ringing me now. What if you’re dead? [Lines cut]Will you not write just write a little? Just to keep me going? ‘Cause I just keep imagining what you could be doing and it’s sending me mental. I’m sorry but it is. I miss you. Obviously in a manly, independent, not bothered way. But I do. (He sighs.)

 

Representative Scenes: 

p. 13-15:  Dani finds out that Tim has been in prison and he tells her how he was subjected to aversion therapy. Part of Dani’s first line can be cut. Starts with

DANI

[Oh, well, that’s alright then.] You’ve got a nice voice. Let me guess, unemployed actor? Late-night DJ.

and ends with

TIM

(Considers.) It made me want to electrocute kids.

p. 19-21:  Dani and Lewis are hanging out at his place and Lewis is trying to get Dani to have sex with him even though she’s having her period.  Starts with

DANI

She doesn’t think anything she doesn’t say. It’s like if she’s putting something somewhere she goes, “I’ll just put that there.” Who the fuck is she talking to? Or she’s driving and she’s just, “Ooh, what’s he doing? I think we’ll park over there.” Shut up. She’s like Cassandra except her curse is to speak and have people want to beat her over the head with a hammer.

and ends with

LEWIS

(He squeezes her bum.) I’ll see your kiss and raise you a bum squeeze. Com on, one bum squeeze to stay in the game. (Dany squeezes his bum, play-reluctantly. Throughout, Lewis moves to be on top of her.) Oh, she’s seen it! She’s staying in. Question is, is she bluffing? (American accent.) And here we can see, Marty, with our special under-the-table cameras that Dani the “D-Man” Carter has a pair she’s been hiding. (He puts his hand up her top.) Can she go all the way? Let’s find out with the rest of the flop.

p.24-26:  Tim talks about his attraction to a little girl named Domino and his love affair with a boy named David.  Starts with

TIM

You’re going to read all those?

and ends with

DANI

Thing is with boyfriends, is eventually they’re going to want to take you out to dinner.

p.41-43:  Lewis goes to Tim’s apartment looking for Dani and threatens Tim with exposure if he does anything to Dani.  Starts with

LEWIS

Look mate. I know all about you and unless you want your neighbors to know and all I’d let me in.

and ends with

TIM

                I know, Lewis, you could. And I’m terrified ’cause I’ve got just so much to lose.

 

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Billington, M. (2003, Oct 21). Review: Last night’s show: Theatre: The sugar syndrome: Royal court, london 3/5. The Guardian, pp. 30.

de Jongh, N. (2003, Oct 21). Depraved new world ; THEATRE. Evening Standard, pp. 46.

Macaulay, A. (2003, Oct 23). The sugar syndrome royal court, london. Financial Times, pp. 19.

Nightingale, B. (2003, Oct 21). The sugar syndrome. The Times, pp. 19.

Taylor, P. (2003, Oct 30). Theatre: Girls will be boys in a mixed-up world. The Independent, pp. 14.

Kurt & Sid – Roy Smiles

kurtandsid

First performed at the Trafalgar Studios by Surefire Theatrical Ltd., on September 9, 2009.

Original Cast:

Sid Vicious                             Danny Dyer
Kurt Cobain  
                        Shaun Evans

Director:  Tim Stark
Designer:  Cordelia Shisholm
Lighting Designer:
  Mark Doubleday
Sound Designer:  Mark Dunne
Stage Manager:
  Charlotte Padgham

Publication:  Smiles, Roy. Kurt & Sid. Oberon Modern Plays, 2009. Drama Library PR6119. M55 K87 2009.

Setting:  An attic extension, Seattle, Washington, 1994.

Language:  Contemporary. Some British slang.

KURT

I always wanted a tie-dye shirt, made from the blood of Jerry Garcia.

Genre/Style:  Serio-comedy

Plot:   The Sex Pistols’ Sid Vicious, who died fifteen years before in 1979, visits Kurt Cobain, who is contemplating suicide.  Vicious may be a ghost or he may be a figment of Cobain’s imagination.  As the Nirvana frontman’s suicide is historical fact, the play deals less with “will he or won’t he” and more with “why;” although, in the end, Kurt takes his reasons with him to the grave.

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.19: Sid explains why he hates England. Kurt’s lines can be cut.

SID

It’s always been Tosser Central to me:  England, a mean little country full of mean little men sitting in mean little pubs saying mean little things. The Pistols tried to blow all that way.  [Lines cut] But it’s all about trying, isn’t it?

[KURT

Oh yeah.]

SID

I’ve never got used to the pettiness of being English. Know why the Sex Pistols rose to infamy? It wasn’t their songs of anarchy and destruction. [Lines cut] No, know what it was?

[KURT

Surprise me.]

SID

They swore on prime time television; they used the ‘f’ word. A word you could hear daily in a thousand infant school playgrounds. [Lines cut] Can you think of anything more relentlessly trivial?

[KURT

Not off-hand.]

SID

For the past twenty years one of the highest rated programmes on British television is a show where a dog rounds up sheep and they time the little fucker. Twenty years; different dog, same sheep; what kind of country watches shit like that for twenty years? Easy:  mine.

p.43-44:  Sid recounts the litany of rock star deaths.

SID

Every time; this whole rock and roll casualty crap is absurd don’t you think? Particularly for a young man of your intelligence; look at your predecessors. Buddy Holly? Only died in a plane crash because he wanted to do his laundry, that’s why he hopped a flight in a rainstorm. [Lines cut] Jim Morrison? Passed out and suffocated in the tub after drinking Paris dry of Jack Daniels. What made Milwaukee famous made a bloated corpse out of him. Janis ‘pug ugly’ Joplin only died of smack ’cause she’d been laying off it. She misjudged the dosage.

p. 47:  Kurt talks about how he used to pretend to be gay just to piss people off. Sid’s line can be cut.  

KURT

I really fought against all that macho crap. Once I was arrested for spraying ‘God is Gay’ and ‘Homo Sex Rules’ on cars. I was given a thirty-day suspended sentence; my family never lived it down. [Lines cut] He looked like Brezhnev. He got colon cancer. He deserved it.

[SID

Mr. Compassion.]

KURT

He should have died sooner, as far as I’m concerned death is just a pit stop for the afterlife. It’s really selfish to live to ninety years old unless you have something to offer, you’ve got to live on the edge.

p.56:  Sid tries to convince Kurt of the value in living. Kurt’s line and part of Sid’s can be cut.

SID

Your music’s like a collective howl for the dispossessed. for those who know that life shouldn’t come out of cash-point machines, but who don’t know what else there is. Only that everything stinks, TV stinks, politics stinks, organized religion stinks; but there has to be something.   [Lines cut] Find the answer, find the question:  live.

[KURT

‘Fade away don’t burn out’?

SID

Forget that fucking song, not even the bloke who wrote it believes it.] This is not a romantic end. There’s no romance in what you’re doing. [Lines cut] Your head will explode like an over-ripe melon. Live, maybe be unhappy but there’s worse things.

p.69:  Sid makes a last ditch effort to save Kurt. This is a really long monologue that can be cut.

SID

Look—I wish I could tell you it’s a beautiful world but it’s not. You want me to believe in all things bright and beautiful? I can’t. Like I said I don’t believe in any of it. Sunsets, just some shit you can’t touch over there; flowers, get in the way of the pavement; the birds in the sky, winged wankers that crap on my shoulder.  [Lines cut] Live and get to other people. Fight. Fight the good fight. Tear it down—whatever ‘it’ is. Fight the jocks and the cheerleaders and the vacuous and the dull; show them there’s more than the drab, grey limits to their tedious imaginations:  please.

Kurt says nothing.

You can’t hear me, can you?

 

 

Representative Scenes: 

p.18-21:  Sid and Kurt bitch about their respective countries.  Sid’s last line can be cut. Starts with

SID

Maybe this is the Hotel California, you can check in but you can never leave.

and ends with

SID

Good question; looks like they’ve gone down the crapper.

[Sid glances out of the window.

Put me out of my misery, where am I? Bromley this ain’t.]

p.35-37:  Sid reads Kurt’s suicide note and challenges him.  Starts with

SID

You’ve signed it with your surname.

and ends with

KURT

(Sneer.) And I thought that was you.

p.48-50:  Sid forces Kurt to talk about his daughter and how he’s abandoning her; scene ends with Kurt shooting Sid. Part of Sid’s first line can be cut.  Starts with

SID

[Good. (Beat.)] So let’s discuss the girl.

and ends with

SID

(In darkness.) You bastard.

p.54-57:  Sid gives Kurt ten reasons to live.  Starts with

KURT

Who cares what you look like when you’re dead?

and ends with

KURT

                (Johnny Rotten voice.)  Ever get the feeling you’ve been conned?

 

 

Select Bibliography of Reviews and Criticism(Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

(2009, September 22). Sid vicious’s second chance. The Daily Telegraph.

Coveney, Michael. (2009, September 15). Kurt & sid. [open access] What’s On Stage.

Gardner, Lyn. (2009, September 16). Kurt and sid. [open access] The Guardian.

Koenig, Rhoda. (2009, September 16). Kurt and sid, trafalgar studios, london. Independent Extra.

Marlowe, Sam.  (2009, September 16). Kurt & sid; arts first night theatre. The Times.

Sweeting, Adam. (2009, September 15). Kurt & sid. [open access]. The Arts Desk.

First Person Shooter – Paul Jenkins

firstpersonshooter

First performed at The Door, Birmingham Repertory Theatre on September 30, 2010.

Original Cast:

Maggie                                               Freya Copeland
Ade                                                     Bradley Hall
Captain Jones/ Nugget                    David Hounslow
Tom                                                     Ben Jones

Director:  Robert Shaw Cameron
Design:
  Jess Curtis
AV Design:  Barret Hodgson
Lighting Design:
  Richard G. Jones
Sound Design:
  Dan Hoole
Dramaturg:
  Caroline Jester
Stage Manager:  Paul Southern

Publication:  Jenkins, Paul. First Person Shooter. Nick Hern Books, 2010. Drama Library PR6110.E554 F57 2010.

Setting:  UK; the present

Language:  Contemporary, lots of gamer and military lingo

CAPTAIN JONES

Good news first—we got a military coup in North Korea, pro-democracy rebels have stormed the people’s palace. Happy days—if it weren’t for the missing warheads on the black market. Then there’s Mohammed Zarqawi—the new pin-up beard for Al-Qaeda. Intel reports he’s shopping for a suitcase nuke to go walkabout. Just another day at the office. Bad news is we got a newbie, fresh out of training…

Genre/Style:  Serio-comedy

Plot:  A single mother enlists the aid of a computer geek to try to help her reconnect with her 17-year-old son who’s addicted to first person shooter military games.  Although the play tackles serious issues, there is humor, which primarily emerges from the collision between gamers and non-gamers and the single-mindedness with which Ade pursues his gaming.  However, in a world where unmanned, remotely controlled drones can attack and kill targets, the image of a lonely boy playing video games takes on sinister overtones.

 

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 21-22:  Captain Jones, the commander in a military first-person shooter game,  defines key terms in the world of first person shooter games.  

CAPTAIN JONES

Pwn.
To own—verb, spelt P,W,N… To kill, to annihilate, to totally dominate your opponent. Pronounced as O but spelt with P, what originated as a typo by chronic gamers, is now legendary in the gaming lexicon. If you have pwned another player—the pwnage unleashed upon them may be due to the fact that they are a n00b.

[Lines cut]

Respawn.
A freshly cloned cyber-warrior, with laser-sighted AK-47 and frag grenades, will materialise at a portal nearby. In short—find the n00bs, pwn the n00bs, tea-bag them, get pwned, get tea-bagged, respawn. In no event resort to camping—I repeat, under no circumstances go camping. Now you’re ready to play.

p. 47-48:  Captain Nugget describes an attack he survived in Afghanistan.  

NUGGET

I was escorting a relief convoy, get the paras out of Musa Qala. It’s getting dark and two mullahs rock up pushing a rusty Volvo. We stop to let them cross, when the boot opens and out pops a granddad in a dress with an RPG. The rocket slams into the side of our Viking and all hell breaks—tracer fire from umpteen Taliban positions. [Lines cut] Just then we hear the rumble of a AC-130 gunship, it’s the Yanks but who cares—next thing the trees are a wall of flame, the smell of burning flesh. Chinook came in an airlifted the casualty back to base… he made it. That’s no UAV did that. That was real soldiers, real pilots, fighting to save each other’s lives.

p.83-84:  Captain Nugget tells Ade about the time he almost had to kill someone.

NUGGET

Wouldn’t call it fear. This old mullah and a boy come up to the checkpoint once, the old fella’s waving his arms and the lad’s grinning, but mad like, pushing a wheelbarrow. There’s a body, young woman, kid’s mum by all accounts and she’s had her foot blown off by a mine. Must’ve seen me coming, eh? [Lines cut] I was two-inches in tomorrow’s newspaper… but it was beautiful. Apart from the unholy stench. Stood there like that… felt like fifteen years. The old boy coughed—something come up out of his lung, spat it on the floor, put his pistol in his pocket, sad something to the boy, turned his wheelbarrow… and walked way. Can’t explain that to this day.

 

 

Representative Scenes:  

p. 9-12:  Tom volunteers to talk with Maggie’s son, Ade, when she expresses concern about him always playing alone.  Starts with

MAGGIE

Leave this to me—not got MBA after my name for nothing.

and ends with

TOM

Let me know how it goes—want a Snickers on my desk by the end of the week.

p. 29-32:  Ade explains to an Army recruiter why he wants to enlist.  Starts with

NUGGET

Play a lot of computer games?

and ends with

NUGGET

I’m ready for lunch.

p.42-44:  Ade lies to Tom about his father, tells him he was a soldier in Kosovo and now he’s in a mental hospital, when, in fact, he’s an attorney.  Starts with

ADE

That’s my dad’s mug.

and ends with

ADE

Tell him yourself, when he gets back.

 

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

(2010, October 7). Grim reality is right on target. Birmingham Post, The (England).

Hickling, A. (2010, October 7). First Person Shooter Birmingham Rep 2/5. Guardian, The (London, England).

Jackson, L. (2010, September 26). Real life war is more like a kids game. Sunday Mercury (Birmingham, England).

 

Belongings – Morgan Lloyd Malcolm

belongings

First performed at Hampstead Theatre, London, on May 19, 2011.  The production transferred to Trafalgar Studios on June 16, 2011.

Original Cast:

Jim                                        Ian Bailey
Deb 
                                     Joanna Horton
Jo 
                                        Kirsty Bushell
Sarko                                   Calum Callaghan

Director:  Maria Aberg
Designer:  Naomi Dawson
Lighting:  David Holmes
Sound:
  Carolyn Downing
Stage Manager:
  Sarah Cowen

Publication:  Lloyd Malcolm, Morgan. Belongings. Oberon Modern Plays, 2011.. Drama Library PR6113. A43 B4 2011.

Setting:  A home in Chippenham; a British Army camp in Afghanistan; during the war.

Language:  Contemporary; a few English slang terms but nothing that impedes understanding; however, the odd turn of a phrase might be challenging for some

JIM

Yeh alright. Chucked it didenI?

Genre/Style:  Serio-comedic

Plot:  Deb, a young lesbian soldier, returns home to Chippenham from Afghanistan, and attempts to make a place for herself while dealing with memories of the war and unresolved feelings for her parents and an old love—who just happens to be her dad’s new girlfriend.  Through the characters of Deb, Jo, and Deb’s absent mother, the play deals with the role of women in the modern world as mothers, lovers, daughters, soldiers, etc.  Although the issue are serious, there is humor in the grimmest of places.  A late in the play act of violence seems both inevitable and yet unnecessary.

 

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 39-40:  Deb responds angrily to her father’s assertion that women don’t belong in the military because men can’t cope with women getting hurt.  

DEB

Hold up—male soldiers ‘can’t cope’ with seein’ us injured? ‘Can’t cope?’ Oh fuck off. I’m sorry but if we’re in a battle situation—which by the way I have been in; I have been shot at and I have shot back. Just because it aint the official line don’t mean it don’t happen. [Lines cut] And I was carryin’ 50 pound of kit in 50 degree heat. Can you do that you fat bastard? Course you can’t ‘cos you aint trained. But I am. And someone gave me that chance and I took it and I proved that I was capable.

p. 49-50:  Deb tells Jo how she used to wonder about the women in Afghanistan and what kind of sex they must have had with their husbands. Jo’s line can be cut.

DEB

When I was out there I would have to search the women. On patrol. I would do this and I never once found anything other than what you’d expect. A body. Arms. Legs. Breasts.  [Lines cut] What kind of sex must they have with their husbands?

[JO

You’re interested in everyone’s business, aren’t you?]

JO

Like. I’m looking at this woman and thinkin’ it must be pretty shit livin’ under all that cloth all the time. I’m thinkin’ her husband must be keepin’ her under lock and key. That their sex must be horrible. [Lines cut] Right there. In that moment. The two of them. Or am I assumin’ right? Is it cold, mechanical, brutal?

p.57:  Jim defends his involvement in the porn business. Deb’s line can be cut.

JIM

Oh come on Deb. You’ve seen it. You’ve seen how dark it is out there. I’m on the surface of it. Not even scratchin’ it. I’m the tip of the flippin’ iceberg what’s gonna send us right down into the pits of hell/

[DEB

/dramatic/]

JIM

/There are people out there with things in their head that you don’t even want to glimpse. The majority of people have thoughts every fuckin’ day that, if they ever acted on them, you’d be yellin’ for the return of capital fuckin’ punishment. [Lines cut] We like the base, the dirty, the wrong. We  fuckin’ lust after it every waking hour. So why, when we’re all thinkin’ it, can’t we indulge in it? Just a bit? Just to relax? No hurtin’ no one. Just a man and his computer.

p.61-62: Deb talks about how when you get your kit, they take a death photo of you, the picture they send to the press if you’re killed in action, and make you write letters to your loved ones in case you don’t make it back. She talks about the letter she wrote to her mother. This extra long monologue ends the play.

DEB

When you go out you get your kit and they take your photo. We call them the ‘death photos’ because they’re the ones they will use to send to the press when you’re injured or killed. In my last tour they took the photo and I was blinkin’. Fucksake. They were in a rush so they wouldn’t let me do another and they were all like ‘better make doubly sure you don’t get killed then hadn’t you?’ [Lines cut]

What I didn’t write. And what I should have. Was. That I think that she has this, like, massive heart inside her and that no one’s let her use it properly. And that I’m sorry for not. For not standin’ up for her more.

She puts the letter back in her pocket.

I’ve been covered in this thin film of dust see? Not just in the desert. I’ve felt like my skin hasn’t been able to breathe.

 

 

Representative Scenes: 

p. 19-22:  Sarko discusses his theory of the desert with Deb in Afghanistan, about how it’s insane to be killing people in a place where there’s so little life.  Starts with

SARKO

I’ve got this theory about the desert.

and ends with

DEB

Sweet dreams.

p. 38-40:  Jim expresses disbelief that Deb might have actually enjoyed being a soldier, doesn’t believe that women should be soldiers at all.  Starts with

JIM

You sayin’ you actually wanted to do the stuff you did out in Afghanistan?

and ends with

DEB

Suddenly I’m really tired.

p.105-108:  Jo apologizes to Deb for the less than stellar homecoming and they play word association, a game they have played many times before.  Starts with

JO

Sorry.

and ends with

JO

Kiss.

A pause.

JO

Kiss.

 

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

(22 June, 2011). Army debut ranks high. The Evening Standard (London).

Billington, Michael. (23 June, 2011). Review: Theatre: Multifaceted women grapple with one-dimensional men: Belongings Trafalgar Studios, London 3/5. The Guardian (London).

Cavendish, Dominic. Gripping tale of skirmishes on all fronts. The Daily Telegraph (London).

Jones, Alice. (20 June, 2011). On the frontline in the battle of the sexes; Morgan Lloyd Malcolm’s first West End play, ‘Belongings’, will confirm her as an exciting new talent, says Alice Jones. [open access] The Independent.

Purves, Libby. (23 June, 2011). Heart of darkness for a woman in male worlds; Theatre. The Times (London).

Hot Mess – Ella Hickson

hotmess

First performed at the Hawke & Hunter Below Stairs Nightclub, Edinburgh, on August 6, 2010, as part of the Edinburgh Festival Fringe.

Original Cast:

Twitch             Gwendolen Chatfield
Polo                 Michael Whitham
Jacks               Kerri Hall
Billy                 Solomon Mousley

Director: Ella Hickson

Twitch: Twenty-five, gamine—Polo’s twin sister
Polo: Twenty-five, cool and caustic—Twitch’s twin brother
Jacks: Twenty-six, well-tanned and big-breasted
Billy: Twenty-four, American, good-looking

Publication: Hickson, Ella. Precious Little Talent & Hot Mess. Nick Hern Books, 1011. Drama Library PR6108.I32 P74 2011.

Setting: Hayling Island, an island in the Solent, the strait that separates England from the Isle of Wright; the present

Language: Contemporary and graphic at times, but rich and poetic ; a few English slang terms but nothing that impedes understanding

POLO

Come on then, Jaqueline! Get some bloody crotch-swatches out. It’s not a celebration unless half the island can see your ovaries!

Genre/Style:  Comedy

Plot:  Polo and Twitch are twins who were born with only one heart between them; the physician gave it to Twitch, so she can’t stop falling in love and Polo was left heartless:  a fitting metaphor for the split between excessive romanticism and cynicism.  Over the years Twitch has had a series of unhappy relationships and horrible things keep happening to the boys and men she falls in love with.  The play, which unfolds like a peculiar thriller, does not make clear who is responsible for the horrible things happening:  Twitch or Polo.  Rather than providing any answers about anything:  either the mystery of the deaths or whether it’s better to love openly or to keep your heart to yourself, the playwright seems more interested in just exploring ideas without coming to any conclusions.

 

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 111:  Polo tells the story of how the first boy who ever made out with Twitch ended up being electrocuted the night of the school disco.  

POLO

Peter Harris, sixteen years old, behind the bike shed of the Island Academy. It was the day before the school disco. I’d spent two weeks looking for the right dress for you, the right shoes, the right hairband.

[Lines cut]

–two hundred and thirty volts, saw our Petey flying through the air—quite the spectacle, turned his hair into the short and curlies that he’d so enjoyed exploring the day before. And try as they might, they just couldn’t make it straight again.

p. 129:  Polo tells the story of Nathan Harvey, a college boy who broke Twitch’s heart and ended up scalding his foot in the bath.  

POLO

Nathan Harvey, university. No place for someone with a heart like Twitch’s. There was no fresher fresher; she was a certified first-timer. Nathan, poor schmuck, had no idea what he was unlocking.  [Lines cut]

The sole of his right foot:  scalded, scarred, third-degree. Freak accident, should have tested it with his toe, no one knows how it happened—but Nathan Harvey never walked the same again.

p.136:  Jacks spies on her father who has just gotten a blow-job; the woman who gave it to him has scraped her knee.

JACKS

There’s a trickle of blood running right the way down the front of her leg. Dad’s licking the corner of a napkin, bends down and wipes her knee. She must have been kneeling on some glass or something.   [Lines cut]

Mum always says you can’t afford to have bare legs after thirty. Mum says he’ll still be hers, whatever happens. Doesn’t matter how long it is or who he’s with—says she’ll always be his wife and he’ll always be her husband. She says there’s honour in it. She’s a mug, my mum.

p.140:  Twitch tells Polo about how she found Billy lying at the edge of the sea, presumably dead; this is after Billy has made it clear to Twitch that he’s not interested in love.

TWITCH

His eyes are still, in the dark all their colour has gone. The moon reflects in a single spot in each one, like someone’s frozen stars into the middle of marbles. I slide my hand into his palm and it’s cold. [Lines cut] It looks like half his body is dancing. I can’t move him, he’s too heavy, it’s like he’s full of sand. I lay my head on his chest and I can hear the stones moving beneath him. I put my ear to his lips but the oly thing moving is the sea.

 

 

Representative Scenes:  The play is comprised of short scenes, usually with two characters, so there are a lot of scenes to choose from.

p. 85-87:  Polo and Twitch recount the circumstances of their birth.  Starts with

POLO

They didn’t know that they were in for a duo.

and ends with

TWITCH

Love.

p. 90-93:  Polo returns to the island after being away for a year.  Starts with

JACKS

Pooooolooooooooooo!

and ends with

POLO

(with aggression). Neon cunting whore!

Silence descends for several seconds.

Come on! It’s fucking party time!

p.105-108:  Polo and Twitch’s reunion.  Starts with

TWITCH

Hello, Polo.

and ends with

POLO

(jolts his head away, they do not touch). Come on!

p.123-126:  Twitch confesses to Billy that she loves him.  Starts with

TWITCH

I get very—attached. I have trouble— letting go.

and ends with

BILLY

Twitch, I’m leaving.

 

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Gardner, Lyn. (2010, Friday 13). Hot mess. [open access] The Guardian.

Jones, Alice. (2010, August 11). Hot mess, hawke & hunter. [open access] The Independent.

McMillan, J. (2010, Aug 28). Review: Hot mess. The Scotsman.

Rx – Kate Fodor

rx

Received its world premiere at 59E59 Theater in New York City on February 7, 2012.

Original Cast:

Meena Pierotti                                                  Marin Hinkle
Phil Gray                                                            Stephen Kunken
Allison                                                                 Elizabeth Rich
Simon                                                                 Michael Bakkensen
Frances                                                              Marylouise Burke
Richard/Ed                                                         Paul Niebanck

Director:  Ethan McSweeny
Set Design:  Lee Savage
Costume Design:  Andrea Lauer
Lighting Design:  Matthew Richards
Music and Sound Design:
  Lindsay Jones
Stage Manager:  Jennifer Rae Moore

Meena Pierotti:  Managing Editor, Piggeries, American Cattle & Swine Magazine
Phil Gray:  Schmidt Pharma researcher
Allison Hardy:  Phil’s boss
Simon:  Meena’s boss
Frances:  A widow in need of new underwear
Richard:
  Marketing executive
Ed:
  Schmidt Pharma researcher

Publication:  Fodor, Kate. Rx. Dramatists Play Service, 2012. Drama Library PS3606. O36 R8 2012.

Setting:  A Midwestern city; the present

Language:  Contemporary

ALLISON

You know how I know that people don’t hate their jobs because of corporate crap? Because I have been through every piece of corporate crap there is. I could pull a mile of red tape out of my ass and use it to tie a bow around all the forms I have to fill out today, but I love my job, Phil. And that’s just in my blood—

Genre/Style:  Comedy

Plot:  The Managing Editor, Piggeries, of American Cattle & Swine Magazine signs up for the clinical trial of a drug to treat workplace depression.  A funny and pointed stab at Big Pharmacy and our drug-dependent culture and its quest for happiness in the form of a pill.  And, surprise, surprise, this play actually made me laugh out loud.

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 10:  Allison addresses the annual Schmidt Pharma stockholders meeting.  

ALLISON

Wow, great presentation. Thanks, Carl. It’s always good to hear about what’s going on in the Cardiology Business Unit. They’ve got a lot of heart over there. For those of you who haven’t heard me speak at a shareholders’ meeting before, I’m Allison Hardy, MBA, team leader of the Neurology Business Unit here at Schmidt Pharma. [Lines cut] I assure you that Intend to personally see to it that all goes well. Now ask me some questions so I can stay up here a little longer. I love it up here.

p. 25:  Phil tells Meena he had a dream inspired by reading her published prose poem on feet.

PHIL

Actually, I had a dream after I read it. I was back in Chicago, in the emergency room at Hartnett Hospital, which is where I did my internship. And I walked out into the waiting area and I looked at all the people.  [Lines cut] But in this dream I was back at Hartnett and the waiting room was really crowded, and everyone in there was barefoot. Like in your prose poem. And somehow seeing their feet, it made me feel some compassion again. It made me want to be of service to them.

p.40-41:  Allison explains why they’re pulling the plug on a heartbreak pill study and how they’re already planning the long-term revenue stream for the workplace depression pill.

ALLISON

Anyway, they’re going to pull the plug on that study and I’ll tell you why: because there’s no long-term revenue stream. Ed Morgan has no foresight. [Lines cut] Oh my God, Phil, are you crying? Stop. Who broke your heart? I’ll wring her neck. Aw, Phil. C’mere. Buck up. (Allison gives Phil a hug with a few good slaps on the back. She notices the vial in his hand.) What’s that?

 

Representative Scenes:  

p. 13-14:  Allison explains to Phil why he can’t take his document hutch (shelf) off his work module (desk).  Starts with

ALLISON

Hey! Phil!

and ends with

ALLISON

I took it off. (She shrugs.) I’m management. My life isn’t easy, Phil, but it really has its satisfactions.

p. 42-44:  Ed accidentally gives Phil a potentially fatal drug they’re developing to cure heartbreak.  Starts with

ED

I’m late.

and ends with

ED

I’m going to call an ambulance. I think that’s the right thing to do.

p.46-48:  Allison tells Phil that the company is pulling the plug on the workplace depression drug and that he’s fired.  Starts with

ALLISON

Oh look. You didn’t die.

and ends with

PHIL

              OK.

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

DZIEMIANOWICZ, J. (2012, Feb 08). Looking for a fix: Two atires send up pill-popping & beauty-chopping. New York Daily News.

Feingold, M. (2012, Feb 15). Rx: A prescription for laughter. [open access] The Village Voice.

Isherwood, C. (2012, Feb 08). Dr. feelgood isn’t feeling quite like himself. New York Times.

Vincentelli, E. (2012, Feb 09). Just what doctor ordered. New York Post.

All-American – Julia Brownell

all-american Received its Off-Broadway premiere at the Duke on 42nd Street by Lincoln Center Theater/LCT3 on November 7, 2011.

Original Cast:

Mike Slattery (44)                                            C.J. Wilson
Aaron Slattery (17)                                          Harry Zittel
Natasha Gordon (17)                                      Sarah Steele
Katie Slattery (17)                                           Meredith Forlenza
Beth Slattery (42)                                            Rebecca Creskoff
Jake Myers (17)                                               Brock Harris

Director:  Evan Cabnet
Set Design:  Lee Savage
Costume Design:  Jessica Wegener Shay
Lighting Design:  Japhy Weideman
Sound Design:  Jill BC DuBoff
Stage Manager:  Charles M. Turner III

Publication:  Brownell, Julia. All-American. Dramatists Play Service, 2012. Drama Library PS3602. R745 A44 2012.

Setting:  A town in California

Language:  Contemporary

NATASHA

Nobody comes down during assembly. Except one of the janitors, this guy Eddie, but he’s got slight brain damage, so I just give him a blow job every now and then to keep him quiet. (Aaron pretends not to have a reaction.) Oh my god. You totally thought I was serious, you thought I gave him blow jobs.

Genre/Style:  Comedy

Plot:  A former NFL star drives his teenage daughter to become a star high school quarterback while ignoring her twin brother and his wife.  If you like Friday Night Lights, you’ll probably like this play although some of the characterizations are thinner than others and the resolution comes quick and relatively painless, give or take a concussion or two.  Aaron and Natasha are the most fully-realized and interesting characters, and surprisingly, Katie, the female football player, is the least realized character, although she is the titular, All-American.

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety. This play only has a small number of brief monologues.

p. 37-38:  Natasha explains why she tried to kill herself.  Aaron’s line can be cut.  

NATASHA

That’s the thing that’s so fucked up. It was so NOT about Jake Myers. It’s just—ugh—nobody gets it.  I took a bunch of pills and it was lame, okay? [Lines cut] And that actually made me the most sad, that I was sixteen and I should be caring about my stupid football player boyfriend dumping me but instead I was like, worrying about my mom being in a wheelchair. But nobody knew about that, so everybody assumed I like, took all these pills and had to get my stomach pumped because—

[AARON

                –Because Jake Myers dumped you.

NATASHA

Exactly.] Because not being able to give crappy head to Jake Myers anymore is obviously the biggest tragedy of my life.

 

 

Representative Scenes:  

p. 7-9:  Aaron and Natasha meet while cutting a school assembly.  Starts with

NATASHA

Hey. (Aaron nods his head.) You’re new, right? You’re in my calculus class.

and ends with

NATASHA

I thought you didn’t like it when people asked questions.

p. 20-22:  Katie confesses to Aaron that she wants to quit playing football.  Starts with

AARON

I can’t really imagine any world where playing football is fun.

and ends with

KATIE

Yeah.

p.36-38:  Natasha confesses to Aaron the real reason why she tried to kill herself.  Starts with

AARON

I don’t feel like playing.

and ends with

AARON

Yeah. Constantly. (Beat.) But honestly? The fact that you’re… you are smarter and cooler and better than anyone at this school… That’s not something to be embarrassed bout. I think it’s pretty awesome. Because I mean… you say that nobody gets it but… I get it. (Natasha kisses him.) You know, there’s no better turn-on than saying you give crappy head. (Natasha smiles. A beat. They start to make out.)

 

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

All-american. (2011). Daily Variety, 313(29), 10.

Isherwood, C. (2011, Nov 08). A gridiron family: The star quarterback is just daddy’s little girl. New York Times.

Sheward, D. (2011). All-american. Back Stage (19305966), 52(45), 40.

Sick – Zayd Dohrn

sickPremiered at Kitchen Dog Theatre in Dallas in May, 2008.

Original Cast:

Sidney Krebs (49)                    James Crawford
Maxine Krebs (46)                    Lisa Hassler
Sarah Krebs (19)                      Martha Harms
Davey Krebs (17)                     Lee Helms
Jim (26)                                      Lee Trull

Director:  Chris Carlos
Set Design:  Michael Sullivan
Costume Design:  Christina Dickson
Sound Design:  Emily K. Young
Props:  Judy Niven and Jen Gilson-Gilliam

Publication:  Dohrn, Zayd. Sick. Samuel French, 2012. Drama Library PS3604. O47 S53 2012.

Setting:  A Safe Haven on the Lower East Side of Manhattan, present day

Language:  Contemporary

SIDNEY

He had to have a schnozz cast in bronze strapped to his head with a leather belt just to show his face in public. But he kept writing until his brain was liquefied. And screwing too, apparently. Dead at 33. It’ll inspire you, I guarantee. Or at least turn you on.

Genre/Style:  Serio-comedic

Plot:  A poetry professor brings  one of his graduate students home to meet his dysfunctional family of germaphobes.  His wife is obsessed with cleanliness and never leaves home; his son was diagnosed as being allergic to 94 out of 99 household cleansers and never leaves home; and his 19-year-old daughter has just been accepted into a poetry program at St. Johns but isn’t sure if she should go.  Although the play deals with paranoia brought on by Multiple Chemical Sensitivity, it isn’t difficult to see it as a parable for any situation where unreasoning fear takes hold of lives and warps them out of true.  However, the second act feels rather anticlimactic, with the central tension in the play becoming, “Will Sarah break free of her family or not?” once the play reveals the truth of the family’s condition.

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 45:  Sidney explains why he snuck potentially fatal cleaning items, that caused a severe reaction in Davey, into the apartment.  

SIDNEY

I was going through our files, last month… I found our wedding pictures, sitting in an envelope. Probably in there since we moved. Those old prints are full of photo fixer. That’s supposed to be one of Davey’s worst reactors. So I got rid of them. Scanned them at work, and then threw the prints away.  [Lines cut] I started—picking out other things, from the grocery store. Bleach. Oven cleaner. I got more and more excited, with every piece I brought home. Felt like I was—curing him, somehow…

p. 52-53:  Jim tells Sarah how he used to wish his father would abuse him so that he could suffer for his art like all great poets. 

JIM

Please. By the time Keats was my age, he was dead. I’m not blind. I do have a shred of self-perspective. (He chuckles.) You know, when I was little, I used to have this fantasy… I’d pretend my dad hit me… Abused me, somehow. I’d lie awake at night, imagining I had black eyes, busted lips, blood in my mouth, that kind of thing… [Lines cut] And he hit me. Finally. Right across the face. Little back-handed karate chop. I was completely stunned. Too shocked to feel it, even. And we both stood there, quietly. And then he started to cry…

p. 57-58:  Maxine tries to defend her reasons for sheltering the children in isolation away from the world.

MAXINE

It is. I ran track in high school. Used to love to jog… Even after Sarah was born. Marathons. Down to Battery Park. The Hudson River. It should be throbbing, you know, neon pink, with all the sludge they dump in there. But it’s sparkling and beautiful sometimes, like a postcard… [Lines cut] That’s why it’s lucky she’s here. Exposed to great art, you know. Music. Poetry. Not to all the violence, pornography, the sewer of pop culture we all take for granted these days. Unlike the rest of us, she had a chance to develop a healthy mind.

 

 

 

Representative Scenes:  

p. 24-25:  Jim gets Sarah to let him read one of her poems.  (Part of a longer scene that can be divided in different ways from p.23-29.) Starts with

JIM

Tell me something at least, so I can say I–

and ends with

SARAH

I know, isn’t it? I felt so bad for the frog though. Don’t you think? Down there, all alone, with those things? This foreign species? But I don’t know, maybe he was happy. Maybe they were friends. Maybe he felt taken care of… (beat) So, I wrote a poem about it.

p. 33-34:  Jim and Davey have a “guy talk”. (Part of a much longer scene which can be divided in different ways from p. 31-35.)  Starts with

DAVEY

Does it feel the way it looks?

and ends with

JIM

No.

p.49-51:  Jim and Sarah talk and clean up the blood from Davey’s severe allergic reaction brought on by Sidney deliberately sneaking chemicals into the house. (Part of a longer scene which can be divided in different ways from p.49-56.) Starts with

JIM

You okay?

and ends with

SARAH

                It’s not your fault. You just. Can’t.

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Johnson, Ryan E. (20 November, 2009). Sick: Capital t brings dohrn’s world to life with brilliant performances. [open access] Examiner.com

MacDonald, Sandy. (29 August, 2009). Charm of ‘Sick’ lies in the dysfunction. [open access] Boston Globe.

Rendell, Bob. Sick: American paranoia returns to new jersey repertory. [open access] Talkin’ Broadway.

Siegel, Naomi.  (22 February, 2009). Illness, illusion and dark comedy in long branch. [open access] New York Times.

The Columnist – David Auburn

columnist

Originally produced by the Manhattan Theater Club, April 25, 2012.

Original Cast:

Joe Alsop (40s-50s)                                         John Lithgow
Susan Mary Alsop (40s)                                  Margaret Colin
Stewart Alsop (late 40s)                                  Boyd Gaines
Andrei (Young Man, Man) (20s-30s)              Brian J. Smith
Abigail (16-20s)                                                Grace Gummer
Halberstam (late 20s-30s)                               Stephen Kunken
Philip (early 20s)                                              Marc Bonan

Director:  Daniel Sullivan
Set Design:  John Lee Beatty
Costume Design:  Jess Goldstein
Lighting Design:  Kenneth Posner
Original Music and Sound Design:  John Gromada
Projection Designer:  Rocco DiSanti
Hair and Wig Designer:  Charles LaPointe
Production Stage Manager:  Jane Grey
Stage Manager:  Denise Yaney

Publication:  Auburn, David. The Columnist. Faber and Faber, 2012. Drama Library PS3551.U28 C65 2012.

Setting:  Various from 1954 through 1968

Language:  Persons in the play are generally upper-class and intelligent; their speech reflects their status

JOE

My boy, politics is life! Politics is human intercourse at its most sublimely ridiculous and intensely vital. You may as well say you don’t care very much for sex.

Genre/Style:  Serio-comedic

Plot:  The play was inspired by the life of Joe Alsop, a newspaper columnist who dominated the Washington political scene during the years between World War II and the Vietnam War.  Most people won’t know who Joe Alsop is and most young audiences will have a hard time believing that journalists ever held that much power considering the relatively weak positions of most journalists today, particularly in the Washington press corps.  The only real tension in the play comes from the vague threat of Alsop being exposed as a homosexual after being entrapped by the KGB in 1954.  However, despite the potential for damaging his career, the threat ultimately has no effect on him.  Instead, what damages Alsop’s standing is his unbending position on the Vietnam War.

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 34:  Halberstam, a young New York Times newspaper columnist, stationed in Vietnam, is furious about Joe’s column blaming war correspondents for the poor showing of Vietnamese President Ngo Dinh Diem.  

HALBERSTAM

He doesn’t know the country, he breezes over here for a week, he stays with Lodge at the embassy, he gets his army car and driver, Harkins puts a helicopter at his disposal, he gets whatever he wants… [Lines cut] –he notices that this man is not only a corrupt and incompetent and hopeless loser and dope, as the rest of us have been saying for months if not years, but also, by the way, actually insane—He notices this… and then blames… the press! We did it! It’s all our fault!

p. 44:  Joe calls the editor of the New York Times to explain why he wants him to fire his star reporters in Vietnam. (less than a minute long)

JOE

Scotty. I’m sorry, I think we were accidentally disconnected. Well, why would you do that? (Pause.) All right, I’ll tell you precisely where I get off calling the editor of a rival newspaper and telling him to fire his “star” reporters. {Lines cut}

They are boys, goddamnit, they are boys! Does Sheehan even have his driver’s license? And if you let me know the date of Halberstam’s bar mitzvah, I’ll be sure to send him something nice—

Hello?

Shit.

p. 47:  Joe, on the phone with his brother, Stewart, reacts to the news that Ngo Dinh Diem has been assassinated by South Vietnamese generals.

JOE

How dare you hang up on me twice in a row, you miserable son of a bitch, when all I am trying to do is help you? You—

Oh, hello, Stewart, I’m sorry. Welcome back. No, it’s—

Congratulations for what?

[Lines cut]

He is not looking for an excuse to get out. That is a ludicrous misreading of both the situation and the man. Promise me you won’t write that anywhere, you’ll just embarrass yourself. He’s far more tough-minded than you give him credit for, or than you yourself seem to be at the moment, if you don’t mind my saying so.

Fine, I’ll set you straight over dinner. Love to Tish.

 

 

 

Representative Scenes:  

p. 6-7:  Joe lies in bed, talking with a man he picked up in a bar in Moscow. Andrei tells Joe about his sister, a laundress, and how she had once been a great athlete.  Starts with

JOE

Your English is extremely good, you know that?

and ends with

JOE

That’s awful.

p. 17-18:  Joe and Porter on the night of Kennedy’s inauguration.  Starts with

STEWART

You are feeling good

and ends with

STEWART

I have enough sense of history to know that when a man in a tuxedo smoking a cigar announces “This is our moment,” he’s generally fucked.

p.37-38:  Stewart confronts Halberstam about some scurrilous rumors circulating about Joe.  Starts with

STEWART

David, take my advice. Don’t go picking fights with Joe Alsop.

and ends with

STEWART

                My brother’s “compromised” so he’s harder on the Soviets?

Gossip. Spiteful, envious sleaze that doesn’t even make sense on its face. I thought you were a better reporter than that. (STEWART puts down his drink.) Do you know, for a moment there I was actually going to defend you to Joe? But now I think I’d better just say good afternoon, and go fuck yourself.

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Feldberg, R. (2012, Apr 26). Portrait of a power broker. The Record.

Feingold, M. (2012, May 02). The columnist: Neocon job. [open access] The Village Voice, pp. 1

Jones, C. (2012, Apr 26). Engaging ‘columnist’ can’t get beyond biographical. Chicago Tribune, pp. 4.6.

Stasio, M. (2012). The Columnist. Variety, 426(12), 16.