Mirror Mirror – Sarah Treem

mirror

First performed at the Yale School of Drama on November 11, 2005.

 Original Cast:

Gretchen Black – 17, Most popular girl in school.                     Corena Chase
Badger Biers – 17, Gretchen’s boyfriend.                                   Allen Read
Most popular boy in school. Captain of the football team.    
Costen Lyons – 18, Badger’s best friend.                                  Jacob Knoll
     Richest boy in school.
Libby Sunday – 17, Gretchen’s new best friend.
                       Alexis McGuinness
     Hoyt’s ex-girlfriend. Valedictorian. On scholarship.
Hoyt Monroe – 18, Tortured teenage artist.
                               Richard Gallagher
     Libby’s ex-boyfriend.
Laurel Buchanan – 16, Hoyt’s best friend. President
               Bridget Jones
     of the drama club. Costen’s second cousin.
Honey – 15, Stage manager in the drama club. Nerd.
               Lauren Worsham
Donnie – 17, Actor in the drama club. Ronnie’s best friend.    Alexander Rubin
Ronnie – 17, Actor in the drama club. Donnie’s best friend.    Paul Spera
Roy/Rose White – 16, New girl. This is a boy’s part.                 Blake Hackler

Director:  Nick Avila
Set Design:  Sara Clement
Costume Design:  Mike Floyd
Lighting Design:  Bryan Keller
Sound Design:  Sharath Patel
Dramaturgy:  Rachel Rusch
Stage Manager:  Adam Ganderson

 Publication:  Treem, Sara. Mirror Mirror. Samuel French, 2010. Drama General Stacks PS3620.R442 M57 2010.

Setting:  A private high school in the South. A gym. An auditorium. A bathroom. Fall, present day.

Language:  Contemporary

GRETCHEN

(considers that) No, not in the same way. Bodies heal. Babies can be aborted. But reputations? That shit never goes away. Your children’s children pay for that. (beat) So did you get a look?

Genre/Style:   Dramatic comedy

Plot:  A year ago Roy disappeared.  This homecoming, his sister’s boyfriend, the captain of the football team, is about to propose to her even though he’s hiding a secret.  When a mysterious girl appears, Roy disguised as Rose, the insular world of a private high school in the South is turned upside down.  Loosely based on Snow White, the play feels like a darker version of your typical teen drama with some mystical 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.9:  Gretchen talks to the bathroom mirror during homecoming after having seen something disturbing in it.  (long monologue)

GRETCHEN

Don’t you pull that shit with me. I will break you.

When I was a child I had a beautiful mirror. Gilded and very old. It was my great grandmother’s mirror. Brought over from Vienna on a first class steamer. The mirror hung in the grand hallway. I cleaned it incessantly. Every time I passed it.

[lines cut]

What do you supposed I did? I broke the mirror. Smashed it in, late one night, with the heel of my shoe. Then I picked up the shattered pieces of glass and sewed them into my skin. And from that day forth, I’ve carried them with me wherever I go. And everyone everywhere always asks me about my skin. They want to know what makes it shimmer so.

(GRETCHEN looks down at her feet. She smirks at the mirror.)

(a threat) What do you think of my shoes? Are the heels too high?

p.48:  Honey tries to explain to Rose (who is Roy in disguise) what it was about Roy that she loved. 

HONEY

No. It was something else. He went around smiling at people—indiscriminately and for no good reason. Like w were all children again. It freaked a lot of people out. [Lines cut] And Badger Biers sort of smiled back. It was the most incredible thing I’ve ever seen. I went home and wrote twelve pages about it in my journal. If Roy hadn’t gotten sick I would have asked him to Homecoming.

p.53-54:  Hoyt gives his reasons for why he believes love is a disease. (very long monologue)

HOYT

This has nothing to do with Libby. Love is a disease. It’s chemical. They’ve proven it. It’s just hormones. That stimulate euphoria. In this one tiny section of the brain. The same tiny section that lights up when people snort coke.[Lines cut] And thus he perpetuates the ultimate cosmic joke. That love makes life worth living. Which we all read. And believe. Because we’re children and stupid. And then we grow up and fall into the exact same trap. And spend the remainder of our lives in perpetual rehab with the rest of humanity.

 p.67:  Libby riffs on her anorexia and her intelligence. 

LIBBY

 I can honestly believe whatever I want, Hoyt. You have no idea how powerful I actually am. I can stay up for three days straight on nothing but whipped cream, coffee and suger-free jello. Do you know how many calories that is, Hoyt? [Lines cut] And I can think about food almost every moment of every day so can you imagine how much more I would know if I never had to eat again? No, of course you can’t. Because you’re not nearly as smart as me.

 

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. 15-19:  Libby finds Gretchen in the bathroom during homecoming.  Libby’s wearing one of Gretchen’s hand-me-down dresses; Gretchen wants it back. In the end, she leaves Libby in the bathroom in her bra and underwear.  Starts with

LIBBY

Gretchen! There you are. What’s that smell?

and ends with

GRETCHEN

Grow up. Wear a thong.

p.27-29:  Honey meets Rose for the first time and reveals what happened to Roy, who is disguised as Rose.   Starts with

HONEY

One two three. One two three. One two three.

and ends with

HONEY

I’m sorry Rose, you seem really nice and all but you’ve got a mouth as dirty as a sailor and it makes me kind of uncomfortable—being a dweeb and all—so I’m gonna go now.

p.66-68:  Hoyt confronts Libby about her anorexia and confesses that he still loves her even though she’s now dating Costen.   Starts with

LIBBY

Is she crazy?

and ends with

LIBBY

I like being light, Hoyt. I want to be lighter. I want to be so light I could step into the air if I were ever in trouble and fly away.

p.69-73:  Roy confronts Badger in the Boys Locker Room and tries to get Badger to admit that he loves him and wants to be with him as a gay man instead of marrying his sister, Gretchen, and living a lie.  Starts with

BADGER

Maggot, maggots, maggots.

and ends with

BADGER

My locker is number 27 if you need some clothes. Please—don’t follow me.

 

 

 

 

Moonfleece – Philip Ridley

moonfleeceProfessional world premiere at Rich Mix in London, Wednesday, March 3, 2010.

Original Cast:

Link (15-year-old boy)              Reece Noi
Tommy (18-year-old boy)          Bradley Taylor
Gavin (17-year-old boy)            Ashley George
Curtis (18-year-old boy)            Sean Verey
Alex (18-year-old girl)                Krupa Pattani
Jez (17-year-old boy)                David Ames
Sarah (17-year-old girl)             Emily Plumtree
Nina (20-year-old woman)        Sian Robins-Grace
Zak (22-year-old man)               Beru Tessema
Wayne (21-year-old man)          Reeda Harris
Stacey (20-year-old woman)     Alicia Davies

Director:  David Mercatali
Set and Lighting Design:  William Reynolds
Costume Design:
  Ellan Parry
Sound Design:   Ed Borgnis
Stage Manager:  Heather Doole

Publication:  Ridley, Philip. Moonfleece. Methuen Drama, 2010. Drama Library Stacks PR6068.I292 M66 2010.

Setting:  A derelict council flat on the top floor of a tower block in East London; the present.

Language:  Contemporary

NINA

Listen, sweetie! I’ve just made my way up an Everest of Dog Turds to get here. I did that because I thought you wanted a séance.

Genre/Style:  Serio-Comedic

Plot:   Curtis, a young right-wing, British National Party (BNP) activist, arranges a séance because he has been seeing the ghost of his brother, Jason, who supposedly died while exploring the Colombian jungle.  The political meets the personal as Curtis confronts the truth about what really happened to his brother and why.  Not everything in the play works:  some of the characters feel superfluous and you question whether such a group of people would ever interact with one another given the extremes they inhabit on the social-political spectrum.  Since Moonfleece was written for young theatre practitioners and theatergoers, there are many parts for college age actors.  A production of the play in the West Midlands was banned after it was scheduled to run because some felt that the play’s themes of homophobia, fascism and the BNP were not “suitable for a community setting”.

 

 

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.19-20:  Curtis explains to Link why the derelict flat will always be his place, even if Link currently squats there. Long monologue.

CURTIS

Jesus Christ, ain’t you heard anything I’ve said, you bloody stupid—? Listen! My gran was the first person to move into this tower block. They were still laying cement. If you go to the basement there’s handprints in the floor. My gran’s.  [Lines cut] –Don’t you dare refer to this flat as yours! Hear me? Don’t dare! It’ll never be yours. It’ll never be anyone’s except mine. Even when they dynamite the place—and it’s nothing but rubble—the rubble that makes up this flat will have my name running through it!

p.23-24:  Alex tells Curtis the reason Sarah stopped talking to him was because they saw him at a fascist rally.

ALEX

No reason? You want the full essay or just the bullet points? You lied! You’re full of hate! You preach hate! Your views stink! You’re a pig! You’ll breed pigs! You want me to carry on? [Lines cut] Then what happens? A family day out with smiley grannies and toddlers chanting, ‘England for the white!’ I was standing next to her when she heard you speak. Her world fell apart.

p.85-86:  Stacey talks about the troubles she encountered trying to bury her sausage dog, Banger, and how Curtis’ stepfather, Mr. Avalon, came to her aid. Long monologue.

STACEY

It’s like when my sausage dog died. I loved that sausage dog. Banger its name was. And one day I looked in its little basket and Banger was as stiff as a board. I cried and cried. Dad wasn’t much help. He said we should use it as a draught excluder. I got no sympathy at all. [Lines cut] And that’s when this man comes out the shop next door. A white man! This man pays the lovely Pakistani gentleman the money I owe him and takes me into his own shop. And who’s answering the phone? Wayne. Cos the man who paid for my drink was none other than Mr. Avalon. So you see, sweetheart, if it weren’t for my dead Banger I’d never have met Wayne.

 

 

Representative Scenes:  This play has a lot of characters and no scene breaks but there are a few sections of the play where only two people interact that could be done as a scene.

p. 17-20:  Link questions Curtis about his family after learning that Curtis and his family used to live in the flat Link now squats in with Zak.  Starts with

LINK

So … why’s ex-girlfriend Sarah coming here?

and ends with

CURTIS

Jesus Christ, ain’t you heard anything I’ve said, you bloody stupid—? Listen! My gran was the first person to move into this tower block. They were still laying cement. If you go to the basement there’s handprints in the floor. My gran’s.  [Lines cut] –Don’t you dare refer to this flat as yours! Hear me? Don’t dare! It’ll never be yours. It’ll never be anyone’s except mine. Even when they dynamite the place—and it’s nothing but rubble—the rubble that makes up this flat will have my name running through it!

p.74-77:  Zak tells a fractured fairytale about Curtis’ brother, Jason, which exposes the truth about why Jason disappeared and later died.  A long scene. Starts with

ZAK

The King’s death sent the Queen mad. She started to bring wolves into the castle. She cried, ‘My precious wolves. They are all I need.’

and ends with

ZAK

 …’Yes.’

 

 

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

Allfree, C. (2010, Mar 09). Putting the BNP on stage. The Independent, pp. 14.

Akbar, A. (2010, Mar 30). Banned, the play that took on the BNP; Dudley council accused of caving in to far right after pulling plug on ‘moonfleece’. The Independent, pp. 2.

Blacker, T. (2010, Mar 31). Nobody has the right to be spared offence. The Independent, pp. 38.

Edgar, D. (2010, Apr 10). Comment: Panic and folly: A farce: The ban of moonfleece is the latest example of an ill-founded censorious attitude stalking britain. The Guardian, pp. 36.

Iqbal, N. (2010, Mar 30). Misguided moonfleece ban is an affront to theatre. guardian.co.uk

Marlowe, S. (2010, Mar 05). Moonfleece. The Times, pp. 68.

Martin, D. (2010, Mar 04). Moonfleece. [open access] The Stage.co.uk

Orr. J. (2010, Mar 08). Review:  Moonfleece. [open access] A Younger Theatre.com

Philip ridley jmoves beyond shock tactics in moonfleece. [open access] (2010, Mar 01) metro.co.uk

Taylor, P. (2010, Mar 04). Under the skin of the racists; Theatre moonfleece rich mix, London. Independent Life, pp. 16.