The Private Lives of Eskimos – Ken Urban

Originally produced by the Committee Theatre Company at the Linhart Theater in New York City, September 12, 2007.

 

Original Cast:

Marvin Michael Tisdale
The Woman Carol Monda
Detective/Christine/Eskimo Melissa Miller
Tom/Cop/Eskimo Andrew Breving 


Director
:  Dylan McCullough

Marvin:  a disaffected urban dweller in mourning, 30s
The Woman:  a mysterious older woman, face unseen, 40s
Christine:  Marvin’s girlfriend, 30s
Tom:  Marvin’s coworker, 20s
Cop:  male, who loves/hates donuts
Therapist:  female, who might be in the wrong profession
Detective:  female, who is not, in fact, a detective, but a VBP (Very Bad Person)
The Eskimos:  more like diseased yetis or Teletubbies gone wrong
Elizabeth:  Marvin’s sister, a voice on a cell phone

 

Publication:  Urban, Ken. The Private Lives of Eskimos. New York:  Dramatists Play Service, 2014. Drama Library Stacks PS3621. R34 P75 2014.

 

Setting:  An East Coast city; the present [Fall (September to December)].

Language:  Contemporary

TOM

Jesus, Marv, you’re totally crazy. I love it, I love it. You remind me of this bro of mine at school. He would say the craziest shit, especially if he was toasted and dud, he was always toasted.

Genre/Style:  Drama

Plot:   Marvin’s sister has died in a terrorist attack on a train and he was the last person she spoke to by cell phone.  Unable to function, he turns to his girlfriend, his coworker, and a therapist to no avail.  When he loses his cell phone, he calls and gets a mysterious woman on the other end who refuses to return his phone.  When she ends up calling him back, they begin an odd, somewhat abusive relationship via the telephone.  By the time a so-called Detective shows up claiming to be looking for the woman, Marvin realizes something strange and possibly sinister is going on.  As if that’s not enough, a trio of Eskimos (who bear no resemblance to real indigenous peoples) continually show up without warning spouting spam whenever Marvin’s agitated.  In a play that is already chock full of enough drama, the trio adds nothing substantial to the story and come off more as postmodern stylistic flourishes than as authentic manifestations of Marvin’s inner state.  One of the difficulties of the play is that it seems to be an unholy mix of styles:  realistic drama meets surrealist, absurdist black comedy.  That said, there are some truly effective moments.

 

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.14-15:  Christine is trying to interest Marvin in dinner but Marvin ignores her. She is frustrated with his inability to move on after his sister’s death. Starts with

CHRISTINE

I could throw my jacket on
get you a burrito
‘cause I know you like burritos
get you a burrito from the Mexican place
the one we always go to
where we went on our first date

and ends with

Marvin?

Bangkok. You like that one.
White rice?
No, brown.
Brown rice.
Yes.

p.20-21:  Tom tells Marvin about this cooking show (Bobby Flay’s Throwdown) that he watched on the first day Marvin returns to work after his sister’s death. Basically, Tom is serving Marvin notice that he’s no longer needed. Starts with

TOM

I said, I saw this cooking show last night. But it wasn’t like a stupid gay-ass cooking show, it was like pretty awesome, you know. An awesome cooking show. This guy he finds the person who people say are like the best at something.
like this woman makes the best hamburgers

and ends with

 

And that hamburger lady, she lost it ‘cause it was like her birthday and she was all excited she was getting this documentary made about her. But she got slammed.
Bobby fuckin’ slammed her.
Tom loves that. SLAM.

                                                Tom looks t Marvin. Marvin is visibly shaking.

Hey. You OK, bud?

p.62:  The Detective comes to see Marvin after having found the Woman based on his information. When Marvin questions her about what happened, the Detective tells Marvin she used to write short stories that everyone tried to read more into than was there.  Starts with

DETECTIVE

(No accent.) It all ends now, understand?

Marvin nods vigorously. She lets go. He collapses to the floor.

(Accent returns.) Hey, Marv. Can I tell you something? That OK?

Marvin nods yes.

and ends with

As I always say, ambiguity is the refuge of the indecisive. Ambiguity is for pussies. That’s what I think.
Clarity, Marvin, clarity. Got me?

 

Representative Scenes: 

p.16-18: Marvin sees a therapist, not the best therapist in the world. Starts with

MARVIN

Um. Are you gonna ask me something, doctor?

and ends with

THERAPIST

Start the new medicine right away, OK?

p22-24: Marvin calls his lost cell phone from a pay phone and speaks with the woman who has it. He does everything he can to get her to give it back.  Starts with

WOMAN

Hello?

and ends with

MARVIN

Hello?
Hello?
HELLO?

p.55-58: Marvin finds out the truth about the Woman, that she was a con artist, who used him but not as horribly as she could have. Starts with

WOMAN

Marvin, you had me worried sick. I’ve been calling for hours.

and ends with

WOMAN

Marvin?
Marvin?
MARVIN!
Shit.

 

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

Claudia, l. R. (2007, Sep 12). Must check this out! eskimos speak spam! who knew? New York Times, p.E4.

Stasio, M. (2007, Sep 17-23). The Private Lives of Eskimos, Variety, p.53.

 

Lizards – Megan Mostyn-Brown

Originally produced at the University of Minnesota’s Guthrie Theatre on April 11, 2007.

 

Original Cast:

Victor Ricardo Vazquez
Jesse John Skelley
Phoebe Valeri Mudek
Ronnie Amanda Fuller
Sebastian Jake Ford
Mallory Caroline Cooney

 

Director:  Josh Hecht

 

Phoebe:  23, married, Valium addict, lost
Jesse:  23, Phoebe’s husband, passive aggressive, a fixer
Mallory:  26, shy, nervous, making a big change
Sebastian:  25, laid back, pothead, thinks he’s a loser
Ronnie:  25, Punk, sassy, former Jersey girl, in love with Sebastian
Victor:  28, nervous, sweet, making a big change

 

Publication:  Mostyn-Brown, Megan. Lizards. New York:  Samuel French, 2007. Drama Library Stacks PS3613. O788 L59 2007.

 

Setting:  Various locations in New York City and the Bronx

Language:  Contemporary

RONNIE

Yes but I don’t have a fancy pants art history degree. In fact I don’t have a degree at all. And for the record, nobody expected anything more from me than managing the Sunglass Hut at the Short Hills Mall. So really my situation is a big step up for my lack of education and trashy Jersey background.

Genre/Style:  Drama

Plot:   Phoebe was saved from a near-drowning by an acquaintance and has spiraled into a drug-aided depression, turning away from her husband Jesse and towards her rescuer Sebastian.  Victor loses his job as a science teacher and meets Mallory who has been contemplating taking a trip to Rio. Sebastian has broken up with his girlfriend and is unaware that his friend Ronnie suffers from an unrequited love for him. They all teeter on the brink of change, uncertain of the path they must take to find happiness and fulfillment. Will they, like some lizards, adapt to their surroundings? break off a symbolic tail to escape? or regenerate a lost limb in order to survive?

 

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.7-9:  Victor deals with his rowdy class, giving a talk on reptiles.  He discovers at the end of the lesson that the class gecko Jimmy is dead.  Starts with

VICTOR

Okay…okay settle down… I said settle down… yes Shanikwa I know it is hot I opened the windows that’s the best I can do… now everyone take out your notebooks and a pencil… Daytwon put away your makers and take out a pencil… a pencil Daytwon not a pen… thank you… now today we are going to continue our lesson on lizards… Yesterday we learned that lizards are what? Anyone? Anyone?

and ends with

VICTOR

Yes Stasia the Komodo dragon may attack people but there are none of them in the Bronx so you have nothing to worry about…now where was I? I don’t remember and we only have five minutes left so I’ll leave you with this lizards regenerate…

[lines cut]

Uggh…just…just draw in your notebooks until the music teacher arrives or something…Fredrick bring me Jimmy…no Jimmy the gecko…it’s time to feed him…he’s not what? He’s not moving?

p.31-32:  Sebastian visits Phoebe at her job at Whole Foods.  She asks him to tell her the story of how he saved her from drowning.  Starts with

SEBASTIAN

Okay… ummm… It was cloudy so there was barely anyone at the beach. In fact we were going to go to Atlantic City instead but Ronnie really wanted to swim and it wasn’t training so we drove to Sea Isle. We stopped at that liquor store off the Parkway with that guy who looked like he was in ZZ Top. And when we got to the beach Victor mixed cocktails. [lines cut] Ronnie and Jesse stood up. And then I ran in. Swam and grabbed you from behind pulling you off of Victor. Holding you. The lifeguard was there too by that time. He gave you a paddle board and the four of us swam to shore. I helped you to the blanket while Victor threw up salt water and gin. Ronnie started crying and Jesse held you.

p.44-45:  Jesse confesses his fears about his wife Phoebe and talks about their honeymoon to Loch Ness.  Starts with

JESSE

She’s disappeared…not literally… I mean she’s still at home… a human being sitting there… but she’s gone… the Phoebe I knew is gone… inside I guess… I mean I look at her… into her fuckin’ eyes and there’s nothing there… I mean there’s something there but nothing I recognize… and I keep thinking about our honeymoon… [lines cut] anyway I guess I just keep hoping that happens with Phoebe, cuz she’s lost… and I can’t seem to find her there… in all that denseness beneath her eyes… and I hope whatever it is comes to the surface… I just want her to come to the surface…

p.46-47:  Sebastian calls his ex-girlfriend on the phone. Starts with

SEBASTIAN

Hey Sheryl… it’s me Sebastian… I know… I know you told me not to call you… which is probably why you’re not picking up… or maybe you’re not home… but I’d like to think that you are there sitting on your pink couch listening to this- Dammit.

[lines cut]

Me again… I think you’re answering machine is fucked- anyway what I want you to know is that I saved this this girl at the beach a few months ago… She was drowning and I swam out and I saved her… [lines cut] I’m not just a waste of space… and I just want you to think about that because I don’t think Phil the party promoter or whatever his fucking name is woulda done something like I did… cool… ummm call me back… Bye….

 

Representative Scenes: 

p.15-17: Mallory visits a travel agency to book a trip to Rio. Jesse tries to talk her out of buying a one-way ticket. Starts with

JESSE

Hello Ms. Daniels. I’m Jesse.

and ends with

MALLORY

Yeah.

p.31-35: Phoebe and Sebastian have been meeting to talk. During one of their talks, Phoebe asks Sebastian to tell her the story of how he saved her from drowning. After he tells her the story, Phoebe realizes that her husband didn’t try to save her from drowning but Sebastian did.  In her desperation, she decides to make a play for him. He tries to convince her that she has good things in her life and, in the end, rejects her.  Starts with

PHOEBE

(As if realizing it for the first time.) But he didn’t jump in.

and ends with

SEBASTIAN

Fuck me.

p.57-60: Phoebe and Jesse argue and festering resentments surface. Phoebe reveals her resentment of Jesse because he was always there when she wanted to do things on her own. She tells Jesse that she wants to end things between them. Then, despite that, she seems surprised when he tells her to go. Starts with

PHOEBE

I don’t want this anymore.

and ends with

JESSE

Try swimming. You seem to have luck figuring your life out there.

The Secret Lives of Losers – Megan Mostyn-Brown

 

Originally produced as part of the University of Missouri-Kansas City’s “Festival of N.O.W.” on February 10, 2006.

Original Cast:

Neely Anna Safer
Ale TJ Chasteen
Sylvia Angela Cristantello
DJ Patrick Du Laney
Nelson Jason Reynolds


Director
:  Meredith McDonough

 

Neely:  19, works at Amoco, sarcastic, lost
Alex:  19, small time drug dealer, Neely’s best friend
Sylvia:  19, overly friendly, small town girl, Alex’s new interest
DJ:  29, copy from Chicago, overweight
Nelson:  15-17, Neely’s brother, crystal meth addict, sweet but out of control
Sophia:  Alex’s baby, should be a doll in a car seat
Jessica:  Alex’s ex-girlfriend, voiceover

 

Publication:  Mostyn-Brown, Megan. The Secret Lives of Losers. New York:  Samuel French, 2007. Drama Library Stacks PS3613. O788 S4 2007.

 

Setting:  Small town Illinois, the present

Language:  Contemporary

NEELY

And Jessica’s cousin, the lesbo, she fucked Alex Scarandado, the guy with the cleft chin who was on the wrestling team, in the parking lot at 31 Flavors on Saturday and now she’s questioning her sexuality once again.

Genre/Style:  Drama

Plot:   Neely is a 19-year-old high school graduate who works at an Amoco gas station and takes care of her younger brother Nelson–a crystal meth addict who loves “Wheel of Fortune”–now that their mother has left to find herself in exotic lands.  Neely’s best friend is Alex, a small town drug addict taking care of a baby he does not want while waiting for the baby’s mama to return from college; he can’t admit to himself that she has abandoned her baby and him. Into Neely’s dead-end world comes DJ, a cop from Chicago, escaping heartbreak in his past, to challenge her to do something about her future.  The characters in the play are, as the title suggests, losers, people left behind while everyone else goes to college or joins the military or does something to get out of their particular nowheresville.  If you’re looking for an uplifting, satisfying ending, this play doesn’t provide it.  Sometimes people are so damaged they can only make incremental changes, and those changes aren’t necessarily positive.

 

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.70-71:  Neely confesses to DJ why she began stealing things.  You can cut DJ’s lines to create the monologue.  Starts with

NEELY

Okay so ummm… Right after my mom left Mrs. Finklestein baked us a ziti… She’s one of the neighborhood ladies without husbands or children who does that, bakes for us because we have a bad situation and I thank her fer the ziti and she smiles at me like I know she’s gonna go to her Stitch n’ Bitch meeting the next day and talk about how sad we are and she turns her back and I took it.

and ends with

NEELY

No, You know, I always felt like- Naw I- I always hoped that when I died they’d open my closet and everyone’d find all their lost shit and this flood of great memories will wash over them as they remember how special these things were to them and in the midst of it they’d umm… think of me and what they have and not what I don’t have.

 

Representative Scenes: 

p.12-15: Neely confronts Nelson about taking off from school and gets him to promise not to cut back on the crystal meth and stay the entire day in school. He’s watching “Wheel of Fortune”. Starts with

NELSON

(To the television.) Oh shit, oh shit, oh shit you are such a fuckin’ dumbass Dave from Utah you shoulda guessed fuckin’ “P”…

and ends with

NELSON

Yeah, yeah promise with a big “P”. No trouble. Later. Later skater.

p.31-33: DJ and Neely go to the park after having dinner on their first date. DJ gives her a crayfish in a terrarium as a gift because he says it reminded him of her. Starts with

NEELY

Thanks fer the meal.

and ends with

DJ

Thanks.

p.66-68: Neely has lost her job at the gas station for stealing. Nelson has gotten the closet open where she hid all the things she’s stolen from neighbors. She goes up on Alex’s roof to think. She and Alex talk and she confesses that she had always thought they’d end up together. Alex shuts her down using his baby and Jessica, the baby’s mama, as an excuse and Neely strikes back. At the end of the scene Alex hears Jessica on the answering machine and goes into the house. Neely takes Sophie and leaves. Starts with

NEELY

Do you even love Sophie?

and ends with

ALEX

She apologized Neely. I told you. She said she’s comin’ tomorrow if she doesn’t have to work on a project- but I feel like tomorrow’s gonna be the day- (Realizes he is alone.) Neely!

 

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?

 

 

Billboard – Michael Vukadinovich

billboard

World premiere in New York on January 12, 2007 at 59E59 Theaters.

Original Cast:

Andy                     Ken Matthews
Katelyn                Sarah K. Lippmann
Damon                 Joey Piscopo

Director:  Tania Inessa Kirman
Set Design:  Zhanna Guvich and Gaetane Bertol
Costume Design:  Carla Bellisio
Lighting Design:  Colin D. Young
Sound Design:  Elizabeth Coleman
Video Designer:  David Kreger

Publication:  Vukadinovich, Michael. Billboard. Samuel French, 2008. Drama Stacks PS3622.U85 B5 2008


Setting: 
Katelyn and Andy’s apartment in Los Angeles.


Language:
  Contemporary

DAMON

People like god damn Charles Manson get tattoos on their foreheads. Sure he could play the guitar, but all those murders? That’s something to think about.


Genre/Style:
  Serio-Comedy

Plot:  Andy, a recent college graduate, gets paid a large sum of money to advertise an electronics company by getting a tattoo of its logo on his forehead. His girlfriend Katelyn decides to create an art project about him which forces him to reconsider what he’s done. 

Review of the Production:  McElroy, S. (2007, Feb 2). ‘Billboard.’ New York Times, pp.25.

 

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.25-26: Katelyn explains how she dealt with bad dreams as a child by drawing and why she began drawing again after her father died. (very long monologue)

KATELYN

(To the audience) On the plane I sat next to this little girl and her mother. The little girl was drawing with crayons for most of the trip. Pictures of her house and family and pets. Drawings from a child’s mind. Every once in awhile she would start drawing on the plane, either on the window or the tray, wherever. And her mom would say to her, “Stop drawing on the plane honey. If you can’t stay between the lines at least stay on the paper.”

[lines cut]

Telling someone your dreams are one thing, but to draw them another. The difference between Freud and Picasso. Those monsters and creatures that made me so scared in bed the night before looked so cartoonish and ridiculous when I drew them out and explained them to her. They were exposed. Out of their darkness. In the light. After only about three or four visits my nightmares stopped completely. They moved from my head to the paper and they were filed away in a cabinet forever. A few years later, after my father died, I began to draw again. This time for myself.

p.32:  Damon tells how he first met Katelyn. (long monologue)

DAMON

The first time I met Katelyn was at my dad’s funeral five years ago. Andy waited weeks before he introduced me to her. That’s how I knew it was serious. The girls he didn’t care about he’d let me meet right away. It was an unusual first meeting of course, but the thing was that while I was feeling awful about my dad, she was the only one who said anything to me that made me feel any better. Here, my friend’s new girlfriend, made me feel better than any of my family or friends with just a few words. Sometimes a stranger can do so much more for us than those close to us.

[lines cut]

Without Andy and Katelyn I don’t think I would have dealt with any of it very well. Sometimes when I imagine my own funeral—I’ll probably die of cancer because everyone dies of cancer—I think of how cool it would be if everyone bought paint and wrote messages and drew pictures all over my casket like kids do on their friend’s casts after they break a bone. They could write stories or draw memories and it might help people cry. How absurd that we need help crying! But the tears would mix with the pain and the result might be amazing.

p.68-69:  A monologue about art and relationships. (very long monologue)

ANDY

(Alone, to the audience) One day at the Getty, Katelyn got mad at me because I refused to admit that the giant, chaotic, splashy Pollock deserved to hang next to, or even in the same room, as the Monet. I’ll admit, there is something to the Pollock. There is emotion and maybe, somewhere in all of the drippings and splattering, maybe there is even something being communicated.

[Lines cut]

But we’ll be fine. Because before I left it alone I took one long, deep look at the Pollock and the art spoke to me. For a moment, in the chaotic splash of color, I saw Katelyn and it was the most beautiful painting in the museum. In any museum. And I knew it was good. There was none of this other shit that blinds us from the art of it all. That distorts how we see things. Because really, in the end, we’re all standing in front of the same canvas, squinting our eyes, trying to figure out what the hell it means. Hopefully to see something we recognize.

 

 

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.

pp.16-19: In the past, Andy and Katelyn spend a rainy day in bed listening to every Beatles album in order and talking about their future.

KATELYN

Magical Mystery Tour. Everyone says Sgt. Peppers is so progressive, but Magical Mystery Tour was just as ahead of its time.

and ends with

KATELYN

Do you really think we’ll last?

p.22-24:  Katelyn is angry with Andy because she thinks he called out Questa (the name of the company whose logo he has tattooed on his forehead) instead of Katelyn while they were having sex.   Starts with

ANDY

What did…

and ends with

ANDY

In the morning you’ll probably think this whole conversation is stupid. Isn’t that what always happens when you get like this? You’ll get up early. Make the coffee. We’ll have that awkward first eye contact and nothing will have to be said. Understood, but not said. And we’ll drink coffee.

p.33-36:  Katelyn tells Andy that she is going to put the portrait she painted of him in a show at the gallery where she works.  He is not happy with her decision.  Starts with

KATELYN

I’m going to put it in the show.

and ends with

ANDY

I don’t look like this.

p.44-46:  Katelyn decides to make Andy the focus of a new art project in which she documents his daily life and then exhibits him in a show and tell at the gallery.  Starts with

ANDY

You didn’t even tell me you were going to do this.

and ends with

KATELYN

Wearing hats now?

 

Flies – Oliver Lansley

fly

First performed at the Tobacco Factory’s Brewery Theatre, Bristol, on October 4, 2011.

Original Cast:

Dennis                                              Oliver Hollis
The Fly and other roles                 Paul Mundell

Director:  Emma Earle
Composer:   Kid Carpet
Design:  Zoe Squire
Lighting Design:  Anna Barrett
Animator:  Becca Rose
Costume Supervisor:   Bianca Ward
Stage Manager:  Katie Barrett

Publication:  Lansley, Oliver. Flies. London:  Oberon Books, 2011. Drama General Stacks PR6112.A57 F58 2011.

Setting:  The play opens in a Winter Wonderland, a fantastical dream version of Antarctica with snow, polar bears, etc.  The play takes place in various locations:  an airplane, a dentist’s office, an apartment, a therapist’s office, etc.

Language:  Contemporary

DENTIST

Unfortunately Mrs. Wilshire was in the middle of having her teeth X-rayed and she did not take kindly to a strange man running in screaming, locking the door nad immediately collapsing into a foetal wreck.

Genre/Style:  Comedy

Plot:  Dennis, a dental assistant, suffers from acute Pteronarcophobia, a fear of flies.  Through a non-linear structure and absurdist situations, the play explores the root of Dennis’ fears and his attempts to deal with his phobia through to a startling solution/conclusion.  Although there are a host of other characters besides Dennis, these other characters may just be figments of Dennis’ fevered imagination.

 

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.17-18:  The FLY reveals why flies behave as they do.

FLY 

I took a shit on your foot…
I know it’s what we ‘do’—I know it’s an action I am genetically predisposed to undertake—but I just wanted you to know that this was different.
I wanted you to know that on this occasion, this specific act of defecation was for one reason and one reason only and that is that… I don’t like you.

[lines cut]

He takes a big sigh as if relieved of a burden.

Ahh, I’m glad I got that off my chest—feels good to clear the air doesn’t it?

p.19:  DOCTOR diagnoses Dennis’ condition and its possible causes, each cause more ridiculous than the last. 

DOCTOR

After the… incident, the patient has been referred to me for examination and assessment. I am to determine whether or not this man poses a threat…

He stops the tape, rewinds it and plays it back.

(DOCTOR on Dictaphone.)  …Poses a threat… poses a threat… poses a threat…

Note to self, I do not like the way my voice sounds on an audio tape—a.) Investigate whether this is the way my voice sounds to other people, b.) Get Janet to look into other forms of audio recording…

[lines cut]

However in my professional opinion I believe they did. Some, if not all, of the above… Note to self. Probe deeper re. clowns, parents, paedos… Peadofly!

p.24-25:  DENNIS explains what true flies are; despite his revulsion, he also seems fascinated by them.

DENNIS

It is the presence of a single pair of wings that distinguishes true f…flies from other insects with the word in their name. May…f…lies, Dragon…f…lies, Damsel…f…lies, Snake…f…lies, Saw…f…lies, Caddis…f…lies, butter…fl…lies… [Lines cut] These help keep them steady and balanced, making them very…agile and able to manoeuvre themselves into intricate flight patterns, they can hover, they can spin, they can even go backwards.

p.47:  PILOT announces an emergency landing on a flight to Antarctica.  Long monologue. 

PILOT ANNOUNCEMENT

Ladies and gentlemen, this is your pilot speaking, I am very sorry to report that we shall be performing a premature landing for today’s flight to Antarctica, this is due to someone attacking another passenger with their complimentary copy of Whizz magazine which can be found in your seat backs.

[Lines cut.]

Boo Dennis, boo to you. Booo.
Everybody please Boooooooo. Not only has he spoilt it f or himself  but he’s spoilt it  for the rest of us, thanks a lot buddy…you’ve let us all down…literally.
Boo.

 

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. 36-40:  DENNIS goes to a travel agency to buy a ticket to Antarctica because he’s discovered that there are no flies in Antarctica.  Starts with

TRAVEL AGENT

Hello there sir what can I do for you today?

and ends with

DENNIS

Can I just buy a plane ticket please?

p.49-51:  DENNIS decides to become a spider in order to confront his fear of flies. Starts with

DENNIS

I have been thinking a lot about what the Doctor has said, about confronting and defeating my fear. About the best way forward, my best chance of doing this.
And I have decided to become a spider…

[Lines cut.]

Perhaps I had underestimated the power of my own convictions but within days thick coarse  black hairs started to appear on my body. At first they hurt as they pierced through the surface of my skin but soon I don’t notice, I become numb to it, almost finding the pain comforting. In less than a week my arms are virtually covered in them.

and ends with

FLY

Dennis…? Dennis…? DENNIS?

p.52-56:  DENNIS goes in for a last session with the DOCTOR after he has transformed into a spider. The DOCTOR seems transformed as well, becoming an amalgamation of the fly and other characters in the play.   Starts with

DOCTOR

Dennis, how are you?

and ends with

DOCTOR

We have to find a way through this. You can’t let this beat you. You must confront it, beat it, otherwise your life will always be dictated by this fear. You have to take ownership of it, find a way through it. You have to defeat it or it will defeat you.

 

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

 

(October 6, 2011 Thursday ). Frightening, funny and fly infested; Flies, Brewery Theatre. The Bristol Post.

Hood, K. (October 15, 2011). Flies making a fair buzz. [open access] remotegoat.com

Pearce, E. (October 7 ,2011). Flies-The Tobacco Factory, Bristol. [open access] thepublicreviews.com

 

Shivered-Philip Ridley

Automotive-assembly-line

First performed at the Southwark Playhouse in London on March 9, 2012.

Original Cast:

Alec—a  20-year-old soldier                      Robbie Jarvis-Dean
Ryan—a twelve-year-old boy                    Joseph Drake
Jack—a twelve-year-old boy                     Joshua Williams
Lyn—Alec and Ryan’s mom                       Olivia Poulet
Gordy—in his twenties, a con man           Andrew Hawley
Evie—Jack’s obese mother                      Amanda Daniels
Mikey—Alec and Ryan’s dad                     Simon Lenagan

Director:  Russell Bolam
Scenic and Costume Design:  Anthony Lamble
Lighting Design:  Richard Howell
Sound Design:  Tom Gibbons

Publication:  Ridley, Philip. Shivered. Dramatists Play Service, Inc., 2013. Drama Library Stacks PR6068.I292 S38 2013.

Setting:  Draylingstowe in Essax, an automotive factory town that has gone bust.

Language:  Contemporary

Jack

No, mate!  My legs’re fucking hurting.  I can feel the veins knotting together like… like knotting-together stuff.  They hurt!  Fuck!

Genre/Style:   Dramatic/comedy

Plot:   Ryan and Jack are two twelve-year-old boys looking for aliens.  Ryan’s  brother, Alec, was a soldier whose beheading by the enemy was filmed and shared on the internet.  Ryan’s dad, a former automotive factory worker, has gone missing; and his mother can’t cope with their son’s death.  The play is fragmented and the scenes are out of order, reflecting the fragmentation of modern-day life and illuminating often-overlooked details with the benefit of hindsight.  The first act works better than the second, but the language and themes remain affecting.  Although the boys are twelve in the play, teens or college aged actors would be appropriate as the subject matter is quite mature.

 

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:  Jack tells Ryan what happened to this girl at school who didn’t want to watch the video of Ryan’s brother being beheaded.

JACK     

There was this girl. Gemma Burns. She’s the year above me. She said she thought watching something like that was disgusting. She don’t watch anything. Not even  bullfights or dogs being sick. She’s a right stuck-up cunt.  [Lines cut] Reece Jackson said they should break into Gemma’s bedroom one night and hold her down like they did in the toilets, only this time make her watch the film of her throwing up while watching your brother’s head being cut off. I said, if they did that, I’d like to be the one to film it. (Slight pause.) I think it’s a fake anyway.

p.33:  Gordy tells Lyn what happens to greyhounds once they stop racing.

GORDY

You know what happens to greyhounds when they stop winning races. They’re killed. That was my job. I’d take them to the wood at the back of the stadium. I’d tie their leads round branches. Leave them to hang.  [Lines cut] Next time I did it, word had spread. There were twice as many people. I charged them money. Every time I did it the audience grew. I made more money from killing the dogs than my neighbor did from racing them. (Slight pause) Wanna meet later?

 

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. 10-12:  Ryan and Jack are watching the canal and waiting for the alien monster to appear so that Ryan can take a picture of it.  Starts with

RYAN

Okay… If anything comes out of the canal—We’re ready!

and ends with

RYAN

I see it! (Jack and Ryan scream.)

p.27-29:  The first time Jack and Ryan meet.  Jack is hiding out from a group of bullies and Ryan is trying to find evidence of aliens to prove his dad isn’t crazy.   Starts with

JACK

What are you doing?

and ends with

RYAN AND JACK

RAAAAHHHH!!!

p.38-40:  Jack and Ryan are again waiting for aliens.  Ryan shows Jack how to draw aliens.  During their lesson, Jack convinces Ryan to look at the video of Ryan’s brother being beheaded. At the end of the scene Ryan beats Jack unconscious and leaves him.  The beating leaves Jack brain dead.   Starts with

JACK

You mean… aliens look like snakes.

and ends with

JACK

Fuck me, no need for that, mate. Jesus. (Struggles to get up.) Help me up, mate… Come on… My bones are bending in this position—Shit! Shit! (Ryan picks up a piece of rubble.) Come on, mate.   (Ryan strikes Jack with rubble.) Mate, what’s that for? Come on! (Slight pause. Ryan strikes Jack again.) There no need for—Mate! Don’t! (Ryan hits Jack some more. Jack is screaming now.) Stop it, mate. It’s fucking hurting… Don’t! Mate! Let’s do some drawing. (Ryan continues to strike Jack.) Let’s do… some drawing…

 

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

Bowie-Sell, D. (2012, Apr 2). Shivered, Southwark Playhouse, review. [open access] The Telegraph.

Costa, M. (2012, Mar 15). Shivered—review. [open access] The Guardian.

Purves, L. (2012, Mar 15). It’s grimmer down south; Philip Ridley’s violent new Essex drama leaves Libby Purves unmoved. The Times (London), pp.12.

Taylor, P.  (2012, Mar 15). Shivered, Southwark Playhouse, London. [open access] The Independent.

 

The Dark Things – Ursula Rani Sarma

busstop

First performed on October 6, 2009 at the Traverse Theatre in Edinburgh.

Original Cast:

Daniel (20s, artist)                           Brian Ferguson
LJ (20s, former exotic dancer)      Suzanne Donaldson
Steph (early 20s)                             Nicola Jo Cully
Gerry (late 50s, psychiatrist)         David Acton
Karl (late 20s)                                  Keith Fleming

Director:  Dominic Hill
Designer:  Neil Warmington
Lighting Designer:  Lizzie Powell
Sound Designer:  John Harris
Stage Manager:  Gemma Smith

Publication:  Sarma, Ursula Rani. The Dark Things. Oberon Modern Plays, 2009. Drama Library PR6119.A76 D37 2009.

Setting:  The play takes place in London.

Language:  Contemporary

LJ

Tell that to my legs if you see them… maybe I’ll have them stuffed… put them on the living room wall beside the telly (DANIEL looks at her horrified.) Jesus… relax… I’m only fucking about… face of you… you’d swear they were your legs I was on about…

Genre/Style:  Drama

Plot:   Daniel is the only uninjured survivor of a bus crash in London.  LJ also survived, but lost both legs in the accident.  Daniel turns his experience into art, but suffers from survivors’ guilt and is falling apart inside.  In his desperation, he goes to Gerry, a psychiatrist who is seeing things and dealing with his own issues about death and survival.  Daniel’s half-sister, Steph, is trying to find her way in the world, but falls afoul of Karl, a somewhat seedy older guy who’s just as lost.

 

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.17-18:  Daniel recounting the moment of the explosion.  A very long monologue which can be edited down. 

DANIEL                

Darkness (Beat.) Total and complete darkness. (Beat.) Oceanic darkness. (Beat.) Like being at the bottom of a lake, on your back, stuck fast in the mud and sinking (Beat.) Trying to breathe, trying to decide if I am alive or dead, try telling myself it’s a dream and will myself to wake up and see… and see… my bedside table… yellow lamp… floral sheets

[Lines cut]

The sound of bones breaking is… inhuman. I curl up… in a ball… pull my knees up duck my head down and pray… please God get me out of this… please God… Please fucking God… I don’t care… I don’t care if everyone else is crushed to death and I’m…  I’m the only one left

p.107-108:  Steph, drunk, talks to Gerry who has come to a party Daniel is holding before he kills himself.  Steph has seen Karl and LJ leave together and is trying to make herself feel good about her messed-up life and lack of connections. Long monologue, can be edited.

STEPH

Oh… I remember… sure (She siles, beat.) You still remind me of Danny’s dad though. You know Danny’s dad and my dad were different people, but they both died, and then my mum met someone else and then he died… so it’s like I had two d ads and Danny had three… and they all died… so I guess we kind of gave up on the idea of having a dad.

[Lines cut]

Why do people use people? Just to make themselves feel better? Is that it? How can making     someone feel like shit make you feel better?

Representative Scenes: 

p. 19-23:  Daniel tries to deal with his half-sister Steph who has  been living with him, not working, making a mess, and generally being a pain in the ass.  He’s trying to get her to move out, but in the end, she manages to wrangle a permanent invitation out of him.  Starts with

STEPH

(Listening, then presses pause.) Today is the first day of the rest of my life. (Presses play listens then presses pause.) Today is a gift and not a burden [Lines cut] did you get mugged by Jimmy Nail?

and ends with

STEPH

(Smiles.) Good… I’m glad (He exits, she looks about.) I am the captain of my own ship of motivation (She picks up the paper.) I am. (She puts the paper down and picks up the remote control.) I…

p.73-77:  Daniel is visiting LJ in her flat.  While LJ is trying to advance their one-sided relationship and get him to move in with her, he tries to get her to let Steph move in with her.  Neither one is really connecting with the other.   Starts with

LJ

I can see your building from my bedroom window, just the roof, can see pretty much everything from up here (Daniel nods, beat) and it’s quiet… a bit too quiet sometimes… catch myself feeling lonely have to snap myself out of it…

and ends with

LJ

I know a place. (Beat.) I’ll show you. (Beat, Daniel goes to push her chair.) I can do it… I can do it on my own.

 

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

Cooper, N.  (2009, Oct 12). Artist’s brush with death; surviving a crash acts as one man’s wake-up call in a self-absorbed world; Theatre.  The Herald, pp. 18.

Fisher, M. (2009, Oct 16). Reviews:  Theatre:  The dark things traverse, edinburgh 4/5. The Guardian,  pp.42.

McMillan, J. (2009, Oct 15). Joyce mcmillan on theatre:  Integrity to fore as nts celebrates one man and his music. The Scotsman, pp. 36.

Scot, R. D. (2009, Oct 14). The dark things; arts first night theatre. The Times (London), pp. 16, 17.

McMillan, J. (2011, Aug 11). Review:  2401 objects/what remains. The Scotsman, pp. 13.

2401 Objects-Written by Hannah Barker, Lewis Hetherington & Liam Jarvis. Devised by Analogue.

hippocampusFirst performed at the Oldenburgisches Staatstheater, Germany on June 17, 2011.  UK premiere was at Pleasance Courtyard, Edinburgh on August 3, 2011.

Original Cast:

Dr. Jacopo Annese/Henry Molaison                       Sebastien Lawson
Patient HM/Father                                                     Pieter Lawman
Nurse/Lauren/Mother                                               Melody Grove

Directors:  Liam Jarvis and Hannah Barker
Set Designer:  Anike Sedello
Lighting Designer:  Alexander Fleischer
Sound Designer:  Alexander Garfath
Multimedia Designer:  Thor Hayton
Stage Manager:  Helen Mugridge

Publication:  Barker, Hannah.   2401 Objects.  Oberon Modern Plays, 2011.  Drama Library PR6102.A76335 A615 2011.

 

Setting:  The play takes place in Hartford, Connecticut, 1953; the Bickford Health Centre, Connecticut from 1988-2008; and at The Brain Observatory, San Diego, 2011.

Language:  Contemporary

FATHER

No.  No Henry.  No.  Fine.  We’ll do nothing.  That’s right.  We’ll sit here and do nothing as we always do.  Sit here and do nothing and and just… Just quietly disappoint each other for the rest of our lives.

Genre/Style:  Drama

Plot:   In 1953, Henry Molaison, an epileptic, wakes up from an experimental surgery in which his hippocampus has been removed, without any recollection of the last two years of his life or the ability to form new memories.  In 2009, Dr. Jacopo Annese dissects his brain live on the internet and cuts it into 2401 slices.  The play explores his life before and after the surgery.

 

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 character who has any monologues in 2401 Objects is Dr. Annese, who also plays Henry as a young man.

p.42-43:  Dr. Annese explaining how Dr. Scoville performed the experimental surgery on Henry.  Comes from a much longer monologue. 

DR. ANNESE

First he had to pull down the skin from Henry’s forehead. Then, he uses a hole saw—the type you wind by hand—to cut through the skull.  Just above one of the eye sockets, he grinds through the bone and removes a disc of about three centimeters in diameter. He repeats this procedure above the other eye. Two holes. Now he can see the brain.

 [Lines cut]

He snaps a few tiny metal clips onto the frayed lesion to seal it, and then does as good a job as he can putting Henry’s head back as it was.   

p.60-61:  Dr. Annese explaining what the hippocampii do. Long monologue, can be edited.

DR. ANNESE

Your thumbs rest just on top of your ears, and the heel of your hand is sort of on your forehead. There you’ve got the idea.

And you can feel bone case underneath your hands.  And under that, your brain. [Lines cut] And about five centimeters travelling straight in from where your thumbs are, is where your hippocampii live.

[Lines cut]

You see Henry, Patient HM. There is a memory there. And then, that memory, is gone.

 

Representative Scenes: 

p. 24-27:  Henry meets Lauren, who lives next door and is home from college for the summer. Henry, because of his condition, can’t live on his own or work or go to school anymore. Starts with

LAUREN

Hello.

and ends with

HENRY

Yes. Yeah. Bye. Yes.

p.38-40:  HM is watching To Have and Have Not in the hospital when the Nurse arrives to see what he wants for breakfast.  Since HM can’t make new memories, they continually have the same exchanges over and over again throughout the scene.  Starts with

NURSE

Really?

and ends with

NURSE

That’s lovely. Now. I’ll get you your breakfast.

 

 

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

Barnett, L. (2011, Aug 19). Scientific odyssey in memory of an amnesiac. The Daily Telegraph, pp. 32.

Hutera, D. (2011, July 29). Theatre. The Times (London), pp. 13.

Jones, A. (2011, Aug 25). Amnesiac’s story lingers in the memory. Independent Extra, pp. 16.

McMillan, J. (2011, Aug 11). Review:  2401 objects/what remains. The Scotsman, pp. 13.

 

Aalst – Duncan McLean from original texts by Pol Heyvaert and Dimitri Verhulst

aalst

New Scottish version first performed at Tramway, Glasgow, on Wednesday March 21, 2007.

Original Cast:

Cathy Delaney                 Kate Dickie
Michael Delaney
             David McKay
Voice (offstage)                Gary Lewis

Director:  Pol Heyvaert
Assistant Director:  David Overrend
Sound Engineer:  Matthew Padden
Stage Manager:  Paul Claydon

Publication:  McLean, Duncan. Aalst. Methuen Drama, 2007. Drama Library PR6063.A2486 A64 2007.

Setting:  The play is performed on a bare stage with the two actors seated in chairs with microphones in front of them.

Language:  Contemporary

CATHY

He slapped me in the face, burnt me with cigarettes, with a razor he… carved my legs up. And as well, in my pubic hair, he wrote the letter M.

Genre/Style:  Drama

Plot:   In January 1999, a Belgian couple checked into a motel with their two children, aged seven and three months.  A week later, the children were found dead in the room.  The three-month-old girl had been suffocated and the seven-year-old boy had been stabbed with a pair of scissors.  The parents were arrested and a Belgian judge sentenced them to life in prison.  The play, transplanted to Scotland, is a fictionalized examination of the parents, now named Cathy and Michael Delaney, which moves beyond the bare facts of the case in order to try to understand how two young people who appear to be, on the surface, non-violent losers could murder their own children. The play refuses to see them as victims, despite their history of childhood abuse, but it doesn’t outright condemn them for their heinous actions.

 

 

 

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.26-27:  Cathy tells the Voice what happened the night her son, Matthew, was killed.  Very long monologue, can be edited. 

CATHY

I went downstairs for a packet of cigarettes, and then I lay on the bed… I woke up. I heard noises in the street outside— traffic, singing— and then I thought:  it’s true, I’m not at home, we’re in a hotel room.

[Lines cut]

My father always used to light a cigarette just after he had come inside me. And I’d look at him, lying on his back, slowly blowing smoke at the ceiling. Smoking is a form of sighing. I was twelve when I started smoking, and I smoked my first cigarettes exactly like my dad did. I blew the smoke out just like him.

‘If our Matthew gets a bit older, he’ll end up a smoker too.’ That’s what I was thinking then.

p.27-28:  Michael tries to explain why they killed their kids. Long monologue, can be edited.

MICHAEL

What were we supposed to do? Every parent wants the best for their kid. When I was a wee boy, my mother used to slap me in the face, and straight after she’d say, ‘That’s cos I love you.’ I’m telling you, every parent wants the best for their kid.

[Lines cut]

There aren’t many things I know for sure, but one thing I do know is: no one will ever put any of my kids in a home. Over my dead body.

What were we supposed to do? We wiped out our kids. Don’t tell me we didn’t want the best for them.

 

 

 

Representative Scenes: 

p. 18-22:  The Voice interrogates Michael about the death of his infant daughter, Ellie. Starts with

VOICE

Was she asleep, or was she crying, or…?

and ends with

MICHAEL

Yes, and then I told her she was a child murderer!

p.46-48:  Cathy and Michael offer up last defenses for their actions.  Starts with

CATHY

I’ve been hurt too! It’s strange, isn’t it, sir, we were never taught anything about ‘life’ at school. Never. All you got was: ‘What’s the capital of Peru?’

and ends with

CATHY

I would like to say that I miss my children very much and that I’m very sorry about what happened. And that I wish I could turn the clock back, because what we did was not exactly brilliant.

 

 

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

Brown, M. (2007, Mar 26). Staccato descent into murder. The Daily Telegraph, pp. 029.

Cooper, N. (2007, Mar 26). Theatre aalst, tramway, galway 4/5. The Herald, pp. 18. R

Gardner, L. (2007, Mar 17). The guide: Theatre: Aalst glasgow. The Guardian, pp. 39.

Gough, S. (2008, Feb 2). Monster couple a profound act. The Courier Mail (Australia), pp. 50.

Hallett, B. (2008, Jan 1). How to remake a killing; theatre. Sydney Morning Herald, pp. 27.

Harrowing look at human cruelty. (2008, Jan 24). Canberra Times, pp. 8.

Koenig, R. (2007, Apr 23). A murder mystery without motivation ; theatre ++ AALST ++ soho theatre LONDON. The Independent, pp. 1.

Marlowe, S. (2007, Apr 23). Aalst. The Times, pp. 17.

McMillan, J. (2007, Mar 30). The death of innocence:  Is there such a thing as outright evil? This infanticide drama doesn’t provide an answer, but it is certainly a highly compelling way of asking the question. The Scotsman, pp. 14.

Smith, G. (2007, Dec 21). Shedding light on dark crime:  Sydney festival 2008. The Daily Telegraph (Australia), pp.72.

Turpin, A. (2007, Mar 18). When the underclass kills children. The Sunday Times, pp. 7.