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).