World premiere in New York on January 12, 2007 at 59E59 Theaters.
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.
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.
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)
(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.”
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)
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.
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)
(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.
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.
Magical Mystery Tour. Everyone says Sgt. Peppers is so progressive, but Magical Mystery Tour was just as ahead of its time.
and ends with
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
and ends with
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
I’m going to put it in the show.
and ends with
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
You didn’t even tell me you were going to do this.
and ends with
Wearing hats now?