A Bright New Boise – Samuel D. Hunter

 

Boise

Commissioned and first produced by Partial Comfort Productions at the Wild Project in New York City, September, 2010.

Original Cast:

Will                       Andrew Garman
Pauline                Danielle Slavik
Alex                     Matt Farabee
Anna                   Sarah Nina Hayon
Leroy                  John Patrick Dougherty

Director:  Davis McCallum
Set Design:  Jason Simms
Costume Design:  Whitney Locher
Lighting Design:  Raquel Davis
Sound Design:  Ryan Rumery and M. Florian Staab
Video Design:  Rocco DiSanti

 

Publication:  Hunter, Samuel D. A Bright New Boise. Samuel French, 2011. Drama Stacks PS3608.U59496 B75 2011.

 

Setting:  Breakroom of a Hobby Lobby in Boise, Idaho

Language:  Contemporary

PAULINE

Ah, there we go. These two guys, they never say their names on the air for some reason. Everybody has guesses of what their names are. I think they both sound like they’re kinda high, so I call this one Woody and this one Harrelson. Get it?

Genre/Style:   Serio-Comedic

Plot:  Will begins working at a Hobby Lobby in Boise, Idaho, running from a recent incident involving a young man’s death in a religious cult Will belonged to in Couer d’Alene. Hoping to reconnect with Alex, the teenage son he put up for adoption years ago—and who happens to be a seasonal worker at the same Hobby Lobby—Will spends his time writing an End of Times novel online using  Hobby Lobby’s WiFi after hours and praying for the Rapture to occur so that he can escape his meaningless life.       

 

Review of the Production:  Rooney, D. (2010, Sep 22). A teenager’s summer job leaves a lifelong impact. New York Times, C8.

 

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

The only person who has any monologues is Pauline, an older character in the play.

 

Representative Scenes:  Scenes con­tain the first person’s lines and the last person’s lines; please con­sult the pub­lished text for the scene in its entirety.

p.21-23:  Will tries to convince Alex that he’s his father. Alex doesn’t buy it and wants to have a blood test done.  [part of a longer scene]  Starts with

ALEX

How did you find me?

and ends with

ALEX

If I ask you to quit and move out of Boise, would you?

(WILL doesn’t answer, staring down at his shoes.)

I gotta clock in.

p.56-58:  Alex and Will take the first tentative steps towards understanding one another and building trust. Will tells Alex about Daniel Sharp’s death and, in turn, Alex tells Will about the abuse and heartache he’s suffered in his young life.  [part of a longer scene]  Starts with

ALEX

STOP. (pause) If your church was so amazing, why did that kid die?

and ends with

ALEX

Because you told me about Daniel Sharp.

p.65-67:  Alex’s foster brother Leroy, who is an MFA student and also works at the Hobby Lobby, is angry because Alex has begun to hang around Will and has also begun to question his place in the world and to believe, like Will, that his life is meaningless without God.  [part of a longer scene] Starts with

ALEX

You think I’m stupid.

and ends with

LEROY

Okay. Just give me a minute. I’ll go talk to Pauline and then I’ll take you home, alright?

 

 

The Gingerbread House – Mark Schultz

gingerbread

First produced at the Rattlestick Playwrights Theater in New York, opening April 11, 2009.

Original Cast:

Stacey (30s)                                                                              Sarah Paulson
Brian (30s)                                                                                Jason Butler Harner
Marco (30s)                                                                               Bobby Cannavale
Fran (40s)                                                                                  Jackie Hoffman
Collin (20s)                                                                                Ben Rappaport
Curtis (very young boy, son of Stacey and Brian)                     L.J. Foley
Maggie (even younger girl, daughter of Stacey and Brian)       Clare Foley

Director:  Evan Cabnet
Set Design:  John McDermott
Lighting Design:  Ben Stanton
Costume Design:  Jessica Wegener
Sound Design:  Zane Birdwell
Video and Projections:  Richard DiBella

Publication:  Schultz, Mark. The Gingerbread House. Dramatists Play Service, Inc. 2010. Drama Library, PS3619. C4784 G56 2010

Setting:  Various.  There should be a window floating somewhere onstage onto which images and titles can be projected.  Otherwise, the stage should be as bare and minimal as possible.  Time, the present.

Language:  Contemporary. People speak in staccato rhythms. Text in parenthesis is not spoken. (Note:  in the published play, the unspoken text is in brackets.)

BRIAN

It’s not oh, please, it’s true. It’s fucking true. And I feel bad. (A little.) I do. For even saying it. But. More than that. I feel. We have to be honest. With ourselves. Okay? Can we do that? Can we be honest? (Beat.) We’re shitty fucking parents. Stacey.

Genre/Style:  Dark comedy

Plot:  Brian and Stacey contemplate selling their children.  As hinted at by the title, this is a contemporary take on Hansel and Gretel, in which both parents are culpable for their actions.  There are no wicked stepmothers in this version, just two very selfish individuals who are tired of being responsible for their children.

 

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

p.14-15:  Darren is trying to convince Stacey that selling their kids, instead of putting them up for adoption, is a great idea. 

Brian

You don’t get paid. When you give up your kids. For adoption. No one pays you. For giving up your full-grown. Kids. but this isn’t about the money. (At least not entirely.) Because. Adoption? They’re put into some system. They get shoved into some system. Foster homes. It’s all dragged out. They get fucked. For life. And is that really what we want? For them? I mean this isn’t just about making us happy. This is about them. Too. ‘Cause I’ve given this a lot of thought. I may hate them. But I don’t wanna hurt them. [Lines cut]  We’ll think of something. When the time comes. If we have to. And. So. (Beat.) We can do this. It’s the best we can do. All things considered. (Beat.) I miss you. Is all. (Beat.) What do you think?

p.19:  Marco gives a sales pitch; Brian’s line can be cut.

Marco

Okay. These are the facts. Cold hard facts. A: Kids know when they’re a burden. They know. And it’s fucked up, I gotta say. And B: You got an opportunity here. To make things better. For everyone involved. Brian’s told me all bout it. (Beat.) Se, I know what’s going on here, Stacey. I’ve seen it before. Lots of people. Lots of moms. They settle. For whatever. Little. Crumbs. Life gives them. But you got a husband. Who’s willing to dream big for you.

[Brian

That’s right. That’s true.]

Marco

[Lines cut] Because I know you want to believe me. This is the truth. Simple as I can make it: They will be loved. By some very wealthy people. They’ll have a great time. Everybody wins. That’s all there is to it.

p.52-53:  Brian finds out that Stacey has kidnapped Marco’s children in an attempt to get their kids back.

Brian

You’re shitting on me. Let’s be honest. And you’re shitting on us. Which is worse. And it’s a really fucking horrible thing. It is. To realize. After all my work. After everything I’ve done. Tried to do. That you never. Never. Ever. Really. Wanted. Me. [Lines cut] You don’t deserve them. And frankly. Really. Quite frankly. your behavior here. Today. Recently. Shows. You don’t deserve me either. So. Let’s just say. That. The woman I married is gone. Right? Let’s just say that she’s gone. And let’s just say that. In here place. Is this old fucking hag. This child-selling fucking vampire hag. Who wouldn’t know what motherhood was. If you hit her over the head with it. (I mean. If you could do that. With motherhood.)

 

Representative Scenes:

p.9-10:  Brian brings up the idea of selling the kids. Starts with

BRIAN

(I) Got an idea.

and ends with

STACEY

It does.

p.22-23:  Stacey’s at work trying to sell a cruise ship vacation to a customer.  Starts with

FRAN

I’m really interested in the Fantasy Cruise?

and ends with

FRAN

The Fantasy Cruise. If there’s a cruise that’s more.  Fantasy. Fantastic. Whatever. If there’s a more Fantasy Cruise than the Fantasy Cruise, then it’s not really much of a Fantasy Cruise, at least not as much as the Cruise that’s more Fantastical (Pause.)

 

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

Isherwood, C. (2009, Apr 22). Chaotic household? sell the kids. New York Times. [Review of Rattlestick Playwrights Theater production in NY]

Rosenberg, David A. The Gingerbread House. Back Stage, 4/23/2009, Vol. 50 Issue 17, p29-29. [Review of Rattlestick Playwrights Theater production in NY]

Soloski, Alexis. No Kidding. Village Voice, 4/29/2009, Vol. 54 Issue 18, p33-33. [Review of Rattlestick Playwrights Theater production in NY]

The Gingerbread House. Theatre World, 2008-2009, Vol. 65, p175. [Review of Rattlestick Playwrights Theater production in NY]

Thielman, Sam. The Gingerbread House. Daily Variety, 4/21/2009, Vol. 303 Issue 11, p22-23. [Review of Rattlestick Playwrights Theater production in NY]

Voss, Brandon. Drama Queen. HX Magazine, 5/1/2009, Issue 921, p54.  [Review of Rattlestick Playwrights Theater production in NY]

 

Edith Can Shoot Things and Hit Them – A. Rey Pamatmat

pamatmat

Received its world premier at the Humana Festival of New American Plays in 2011.

Original Cast:

Edith  (12, Filipino-American, a girl, Kenny’s sister)                       Teresa Avia Lim
Kenny (16, Filipino-American, a young man, Edith’s brother)        Jon Norman Schneider
Benji (16, any race, a friend)                                                          Cory Michael Smith

Author’s Note:  The play should be performed by young-looking adult actors, not actual teenagers.  The adults in the play can be portrayed with puppets, projections, or something else non-human.

Director:  May Adrales
Scenic Design:  Brian Sidney Bembridge
Costume Design:  Connie Furr Soloman
Lighting Design:  Jeff Nellis
Sound Design:  Benjamin Marcum
Properties Design:  Joe Cunningham
Media Design:  Philip Allgeier
Fight Director:  Drew Fracher
Stage Manager:  Kimberly First-Aycock
Dramaturg:  Michael Bigelow Dixon

Publication:  Pamatmat, A. Rey. Edith Can Shoot Things and Hit Them. Samuel French. 2012.  Drama Library, PS3616.A3567 E35 2012

Setting:  A remote non-working farm outside of a remote town in remotest Middle America in the early 90s.

Language:  Contemporary

KENNY

I have this special glue that will keep a dress stuck on you for a week, and if you try to take it off, it will rip off your skin. So either put one on for a couple of hours, or plan on having one stuck to you for days.

Genre/Style:  Darkly comedic drama

Plot:  Edith and her brother, Kenny, try to survive on their own in a farmhouse in the country after the death of their mother and their father’s apparent abandonment.  The basic premise is a little shaky—that a father would abandon his school-aged children to live with his girlfriend in the same town—as is some of the plotting, but the characters are engaging and they draw you into the play.  Particularly affecting is the budding relationship between Kenny and Benji.

 

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

p.14:  Benji explaining why his mother has kicked him out of the house.  [Kenny’s line can be cut.] 

BENJI

I’m doing my chores—washing dinner dishes. I go in my room when I’m done and she’s sitting there holding the tape and the note. Her face is all twisted. Disgusted. And then she yells for my dad and brother, and when they come in, she shoves the note at me and goes:  “Read it. Aloud. To your father.”

And I read. And she shakes and cries. And my bother swears. And my dad just stands there. I get to the end and I hear this…this crack sound. And she snapped it in half. Your tape.

[Lines cut]

[KENNY

Don’t be sorry.]

BENJI

My dad goes, “I’m going to make sure Mom talks to you tomorrow.” But I don’t want to talk to her. I don’t want to go home, to…with her. I want her to leave me alone.

p.39:  Edith explaining to Benji how he needs to take care of himself and learn to be like her.  [Benji’s line can be cut.]

EDITH

[I just do.]

Sometimes I go to Dina Osheyack’s house, and her mom is always there. She teaches us how to do stuff, helps us do our homework. And it’s fun, even though Mrs. Osheyack can be really annoying. She wants to see Dina all the time and hear all about school and stuff. But Mrs. Osheyack? She’s always telling Dina what to do—pick this up and throw this out and show Tom some respect, he has cross country tomorrow! [Lines cut]

[BENJI

No.]

Right. You’re almost as smart as me, and I don’t need anyone. So just do what I do, and you’ll be fine. Show her you’re fine. Live here and be like me.

 

Representative Scenes:  (Note:  This play has a number of three-person scenes as well as the two-person scenes below.)

p.23-24: Kenny and Benji discussing words for various sex acts.  Starts with KENNY and BENJI in the barn, sitting in the hay. BENJI pulls a dictionary out of his bookbag.)   

KENNY

That’s what you brought?

and ends with

BENJI

That’s what I mean. There are words for it. And not just crass words or words they use at my mother’s church. These words…”fellatio” is scientific. It’s not—there’s no. It’s not condemning people who do it, and it’s not glorifying them either. No bias. There’s a scientific word for it, because it is a scientific fact that it happens. And since it happens it needs to be named. And so it is.

(KENNY kisses BENJI)

p.37-38:  Edith wants Kenny to ask Benji to come to her recital  [Starts with

BENJI

So…uh, what are you doing tonight?

and ends with

KENNY

Bye, whore. I’ll pick you up in twenty minutes, whore.

p.55-56:  Edith and Benji are sitting in an ice cream shop after Kenny has just stormed out.  The kids have been hiding out since Edith shot her dad’s girlfriend by mistake with her pellet gun.  Starts with

EDITH

I wouldn’t have shot her if I knew who she was.

and ends with

EDITH

Even if she loves you, her love doesn’t mean anything. When it matters, it doesn’t mean a thing.

 

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

Cox, G. (2011). Trio of shows shines at Humana fest. Variety, 422(10), 23. (Review of production at the Humana Festival)

Hubbard, R. (2012, Mar 18). Theater review: ‘edith can shoot things and hit them’ is rewarding but uneven. Saint Paul Pioneer Press.

Osborne, B. (2011, Nov 04). ‘Edith can shoot things’ targets hopeful audience: Unconventional but fairly functional unit formed by trio. The Atlanta Journal – Constitution.

Royce, G. (2012, Mar 19). ‘Edith can shoot things’ misses. Star Tribune.

Schneider, R. (2011). 35th HUMANA FESTIVAL OF NEW AMERICAN PLAYS. Plays International, 26(7/8), 48-51.

Sheward, D. (2011). Less Is More at Louisville. Back Stage (19305966), 52(15), 12-13. (Review of production at the Humana Festival)