Monday

65

11.12.06
Total darkness/silence. The audience awaits the play for enough time that their eyes adjust and they almost become uncomfortable. Light tinkery music. The performers enter the space quietly and begin to whisper to one another, audible to the audience.

11111
Sad. So sad.

22222
Tragic. Terribly tragic.

33333
Lost. Completely lost.

11111
Scared. Very scared.

22222
Worried. Truly worried.

33333
Afraid. Absolutely afraid.

A LOUD POP. Silence again. Again whispers.

11111
What was that?

22222
Did you hear something?

33333
What did you think that was?

11111
Mind playing tricks…

22222
Sounded like a pop…

33333
I don’t know what that was…

SILENCE.

11111
Do you think we’ll hear it again?

22222
Would you want to hear it again?

33333
It scared me the first time.

11111
You were already scared…

22222
Frightened, really. We were all frightened.

33333
I don’t want to hear it again.

SILENCE.

11111
Maybe it was nothing.

22222
Just a shot in the dark.

33333
Maybe it was the first step.

11111
The first step?

22222
To what?

33333
To the end of the world.

11111
Nonsense.

22222
What would make you say such a thing?

33333
It’s bound to happen sooner or later.

11111
I have a feeling it would be much larger-

ANOTHER LOUD POP, THIS ONE LOUDER.

22222
I’m scared!

33333
Step two…

11111
Be quiet!

A POP WITH ECHOES.

22222
Shhh….

33333
Shhh….

11111
What is that noise?

22222
I want to get out of here.

33333
Shhh….

11111
You shh, I want to know what that was!

22222
A big pop!

33333
The end of the world, when the music stops…

11111
The music has never stopped before.

22222
Yeah, the music has never stopped before.

33333
Always a first time for everything.

SILENCE.

33333
Including the end of the world,

SILENCE. The cessation of whispers.

11111
You aren’t going to scare me!

22222
I’m scared! I’m definitely scared!

33333
Nothing we can do about it, it’ll happen sooner or later.

11111
You aren’t going to turn my crank or yank my tale! I’m not scared!

33333
Never said you should be!

22222
Well you’re scaring me!

11111
Knock it off!

33333
There’s nothing I can do about it! The end is near!

22222
It’s not true! It’s not true!

11111
It can’t be true-

THE LARGEST OF POPS, followed by a blinding white light and happy child’s laugh. 11111, 22222, and 33333 are dressed in weasel outfits. They reach to the sky and bobble up and down.

64

11.11.06

A FIGURE with a can of diet cola.

FIGURE
After I finish this delicious beverage, all of the world’s problems will come to an end!

The FIGURE shotguns the can of diet cola, belches, smiles.

63

11.10.06

A RANDOM AUDIENCE MEMBER is selected.

A FIGURE in a NICE SUIT and WHITE COTTON GLOVES enters, producing and carefully unfolding a nice piece of paper, which he or she reads aloud while standing behind the seated AUDIENCE MEMBER.

FIGURE
The contents of [AUDIENCE MEMBER’S] mind to date. Abridged.
I’m cold. I’m scared. I’m screaming. Why? Why? Why? I’m hungry. Feed me. I’m sleepy. Don’t pick me up. I’m hungry. I’m uncomfortable. Why? Everything irritates me. Who are these people always smiling at me? I like these people. Feed me. Why? I’m scared. I’m hungry. I can stand. I can walk. I can talk. Why? I’m sleepy. Feed me. I now understand humiliation. Why? I can read. I am attracted to that person. Why? I am attracted to that other person. Why not? I can run. I like hugs. I can paint using my fingers. I can draw with a pencil. Feed me. I can draw with a pen. Why? Bugs are gross, but oddly appealing. Worms live under the ground. I can write in cursive. I will die some day. Why? Worms will eat me after I am dead. Why? Sex. Toys no longer give me the same solace they used to. I like music. Sex. Some day everyone and everything I know will die. I am sad. Why? Sex. I am in love with that person. Sex. Feed me. Sex. That person broke my heart. Sex. Why? Sex. The world is an enormous place. Nature is cruel. Nature is inherently good. The universe is larger than I can possible comprehend. Sex. Math is an infinite abstract. I am in love with that other person. That person is in love with me. Why? Sex. Feed me. Friends are lovers that I am not physically attracted to. Sex. Friends are lovers who I do not have physical relations with. Work is not as fun as free time. Work is more fun than I had expected. I can always improve. Sex. I am a failure. Feed me. I am glum. Sex. Sex. Sex. I feel better about myself every day. Sex. The world is inherently good. Sex. Art is wonderful. Sex. I enjoy all different kinds of art. Sex. Feed me. I feel like going to a play. Sex. That play moved me in some way. Why? I will go to other plays. Some plays do not move me as much. Why? I will go to a play tonight. I am at a play. This does not seem like any play I have been to. I hope I am asked to participate. Why is this person reading from this sheet of paper? Why are they wearing white gloves? Do they really think that they are reading my mind? These statements are rather general. They could happen to anybody. Sex. This person is saying things that were in the back of my mind. How did they know that? Sex. I’m bored. Sex. I hope this is over soon. … Is it over? …no, damn it isn’t… Is it done now? … Sex….shit.

The FIGURE in a NICE SUIT and WHITE COTTON GLOVES carefully folds the piece of paper and hands it to the AUDIENCE MEMBER. The paper is blank. The FIGURE begins to applaud the AUDIENCE MEMBER for their bravery.

Sunday

62 - Red or Blue...

11.9.06

ONE behind a desk. The OTHER with a ledger.

ONE
Dignity?

OTHER
Yup.

ONE
Honor?

OTHER
Oh yeah.

ONE
Wisdom?

OTHER
Yup.

ONE
Goodness?

OTHER
You better believe it.

ONE
Ok. What else?

OTHER
Not much. Do you have any ideas?

ONE
What about a sense of history?

OTHER
Umm…mmhmm, yeah.

ONE
Really?

OTHER
Yup.

ONE
All of it?

OTHER
Yeah, yes. All of it.

ONE
What about our myths?

OTHER
Well, we haven’t sold those yet, but they’re mostly on lease or rented out.

ONE
No…

OTHER
Yes, its true. Lets see…Freedom and Equality went to McDonalds, Manifest Destiny went to the war effort and The West myth went to Disney, presumably for a happy cartoon of some kind. Oh and we loaned democracy to cable news.

ONE
Damn. What else do we have left?

OTHER
Well, our borders seem like a hot ticket item right now. We could probably sell that local and get a pretty penny. State borders too, I bet we could find a way to generate some revenue there. Oh, and we still have our monuments. We could sell those.

ONE
True. Maybe real estate development. Look into that.

OTHER
Done and done.

ONE
Well shoot. I can’t really think of anything else of value that we haven’t sold out.

OTHER
Well, there is one other thing we could start selling. It’s a renewable resource too.

ONE
I thought we already got rid of the trees.

OTHER
I was talking about people.

ONE
What people?

OTHER
Our people.

ONE
Really? Isn’t that illegal?

OTHER
No, well, it depends. Slavery is illegal, yes.

ONE
So we can’t sell people.

OTHER
But what if we redefined slave? You know, to fit the times. In light of national interests.

ONE
I don’t know if I could be okay with that.

OTHER
There are three hundred million of them. At five bucks a head…

ONE
Whoa. Hadn’t thought of that. Okay. Let’s find a buyer. But not at once, we could probably find a way to inflate the cost once we start running low.

OTHER
Good thinking.

ONE
That’s why I’m sitting behind the desk, you know.

OTHER
True. True.

ONE
Oh! We could sell the desk!

OTHER
Anything else?

ONE
What about the American Dream?

61

11.8.06

Swimming.

FLOAT
Hey, Bob.

BOB
Hey, float.

FLOAT
Howya doin’?

BOB
Fine. Well. I’m good. You?

FLOAT
Staying afloat.

BOB
Good one.

FLOAT
A little hungry though…

BOB
Yeah, me too. I’m always hungry.

FLOAT
Tell me about it.

BOB
What are you in the mood for?

FLOAT
Fish. You?

BOB
Same.

FLOAT
Or maybe some bugs…

BOB
Bugs are good.

A shadow descends on the pair.

FLOAT
Got dark all the sudden.

BOB
That it did. Cloud maybe?

FLOAT
Peaceful cloud…

BOB
Happy cloud…

FLOAT
Happy day…

BOB
Peaceful day…

FLOAT
This is the good life…

BOB
Yes it is, Float. Yes it certainly is.

A GIANT HOOK with WORM descends.

BOB
Whoa! What is that?

FLOAT
I don’t know! It isn’t moving…

BOB
It doesn’t look like it belongs here…

FLOAT
You should taste it.

BOB
What? No…

FLOAT
Go taste it. See what it is.

BOB
I don’t think I should go anywhere near that thing.

FLOAT
What if it’s food?

BOB
It doesn’t look like food…

FLOAT
How do you know…?

BOB
…I’m not tasting it.

FLOAT
Tuna.

BOB
What did you call me?

FLOAT
A big dumb tuna. Afraid of a little food.

BOB
You’re so brave, why don’t you taste it?

FLOAT
I will if you will.

BOB
Yeah?

FLOAT
But only if you go first.

BOB
No, no way. You first.

FLOAT
FINE! Watch and learn, chump.

FLOAT takes a quick nibble of the WORM.

FLOAT
MMMmmmm. Tastes different. A little waterlogged, but it tastes good!

BOB
You’re lying.

FLOAT
I am not.

BOB
You didn’t really take a bite.

FLOAT
You just saw me.

BOB
Do it again…

FLOAT
No! It’s your turn.

BOB
It tastes so good, do it again.

FLOAT
Alright, alright, but if you don’t take a bite next you have to admit to being a tuna.

BOB
Don’t call me that. Take your stupid real bite.

A MOMENT. FLOAT reluctantly takes a second bite.

FLOAT
Even better the second time.

BOB
Really?

FLOAT
Go for it!

BOB
Mokay!

BOB takes a bite of the WORM. SCREAMS, BUZZERS AND RED LIGHTS! FLOAT swims away. BOB IS DOOMED!

60

11.7.06

A LARGE RUBE GOLBERG DEVICE is onstage. A and B stand near it. A gets down on one knee.

A
Whaddaya say? Do you love me?

B
Hang on one sec.

B somehow activates the LARGE RUBE GOLBERG DEVICE. Many bells and whistles are poked, prodded and overturned over the course of quite some time. Some of the elements of the device include any number of the following:

BARBIE DOLLS

VALENTINES

A LARGE INFLATABLE BALL

WATER BALOONS

A JAR OF BUTTERFLIES

AN AUTOMATED MARIACHI BAND THAT PLAYS A SONG OF LOVE AND HAPPINESS

A STRING WITH A CANDLE BENEATH IT

LOTS OF CRISPY SOUNDS (E.G. MARBLES ROLLING AROUND A WOODEN BOX, ETC.)

FLOWERS

PANCAKES THAT FLIP THEMSELVES

THE STUFF OF YOUR WILDEST IMAGINATION.

Eventually, the LARGE RUBE GOLBERG DEVICE winds down to its last stop; a kitschy dispenser of a tiny piece of paper, which B procures after the device has stopped. B reads the paper.

B
Nope, sorry.

OR

I guess…

59 - It begins...

11.6.06

AESCHYLUS in mask.

AESCHYLUS
I, AESCHYLUS, COPYWRIGHT TRAGEDY.

Perhaps AESCHYLUS gives everyone the finger.
AESCHYLUS exits.

58 - John, like the baptist?

11.5.06

GEORGIA eats a sandwich, while watching TELEVISION.

TELEVISION
I know what you’re thinking. You’re thinking, my golly. The world has spun completely out of control. Maybe those indigenous Mexicans were right when they said the world was going to end in the year 2012. Maybe the world has already ended, and you weren’t one of the lucky ones to be raptured up. Heck, if god was only going to take a little over one hundred thousand, how would the world even notice that the end had begun? I know what you’re thinking, you’re thinking that you may never be forgiven for your indolence, when the world is spinning out of control and evil has taken root in society. You may never be forgiven for the little you have done and the great deal you have failed to do. You have failed to keep the sodomites and lustful from practicing their deviant ways. You have failed to keep the family in tact in the world. You have failed to keep god in the hearts and minds of all people on earth, and instead they go about having gay sex or sex with prostitutes, or gay sex with gay prostitutes. Blaspheming the good word of the lord with every word. “YES GOD YES GOD JESUS JESUS” and a whole host of other words I will not repeat on this television program. This has happened because you, my friend, have failed. This is the stuff of original sin. I know this because I was once like you, sitting alone, watching television, stuffing my face while others starved. I was once a sinner, because I did not give all that I had to give. I did not say all that I had to say and I did not do all that I had to do. Well, I am here to tell you that it is time to start. You can start by pledging your support to the Endtimes Donation Fund, where we will continue our ongoing mission to expand our message of truth. The number is located on the screen right now, call it and help us help you help to save the world. Only you can call, and only you can make the difference. Call now, and keep our ministry alive. Call now. Call. Call.

GEORGIA finishes the sandwich, picks up the phone and dials.

TELEVISION
Call, because if you don’t, they will take the lord’s name in vain. They will take the lord’s name in vain while they engage in vile acts of bodily sin…

GEORGIA mutes the TELEVISION.

GEORGIA
Hello? Hi, this is Georgia Franklin. Hi, yes, I was watching your television program just now. Yes, I know, it is a wonderfully large ministry. Yes. No, I wouldn’t like to make a donation. No…Well you see I was wondering if I could speak to the reverend. I understand he’s busy. I’d like to speak with him anyway. Yes, you can leave him a message, that will be fine, but if he doesn’t get it I’ll walk my ass over there and boot you…Alright. The message is that the reverend is three months late on child support, and to remind him that I have a video of him taking the lords name in vain with me and a roomful of other naked people. Yes I’m serious, what’s your name? John? Like the Baptist? Well it was a pleasure talking to you John, have a lovely day.

Saturday

57

11.4.06
A SPEAKER enters and addresses the audience

SPEAKER
This is the most boring place in the world right now. Honestly, what are you doing here? You think this is doing any good, coming to this place? You think this is helping the world in any way? Life and death and pain and suffering are going on right now, in the REAL world. But you can sit here somehow and twiddle your thumbs and pretend like you’re learning something by being here. Oh, bravo, bravo.

Golf clap from the SPEAKER. CONSIPIRATORS enter.

SPEAKER
Oh, wait, you came here to be entertained? OH. Great. Good for you. You’ve earned it you have. No, I’m not being sarcastic at all. Uh-uh. Nosireebob.

THE CONSPIRATORS sneak up on the SPEAKER.

SPEAKER
I can think of at least a hundred things you could do right now that would change the world, and instead you are listening to what I have to say? How have I earned this distinction? What makes listening to me so worthwhile? Is it that I’m on a stage, is that it? Is the simple fact of my presence in one particular place in the world all that matters in your lazy brains?

THE CONSPIRATORS slowly tie the SPEAKER’S shoes together. The SPEAKER never notices the CONSPIRATORS.

SPEAKER
I could say anything right now, and odds are you’d find it the least bit meaningful. Even if you hate what I’m saying, I bet you’d still find it meaningful. Blah blah blah. Bloo blee blah blie blow. You can’t blame me for wasting your time, you were doing it already.

THE CONSPIRATORS place a clown nose on the SPEAKER.

SPEAKER
Do you find something funny about this? Good. The world is absurd. So is theatre and so are all of you. I don’t need to come to a play to be entertained. I get my kicks by observing doorknobs like you. That’s right, I called you doorknobs.

THE CONSPIRATORS unbuckle the SPEAKER’S TROUSERS.
The SPEAKER is wearing funny underwear.

SPEAKER
Aren’t you humiliated? Have you no shame? Everywhere people are starving, dying even, and you manage to come here, accomplishing nothing.

The CONSPIRATORS place a bald wig with rainbow hair on the SPEAKER. The speaker still does not notice.

SPEAKER
You make me sick. You people who come here to see political theatre, thinking that it’s a substitute for real change in the world. You people who come here for art, when art is the furthest thing from the minds of people who are really suffering in the world. I pity you.

The CONSIPIRATORS hold up a sign. The sign reads:

[APPLAUSE]

SPEAKER
Yeah, thanks, thank you, oh yeah, I am so grateful for everything. Put your hands together. You know what? I’m not going to bow. I don’t bow to doorknobs. I turn them.

The CONSPIRATORS hold up another sign, which reads:

[BOO!]

SPEAKER
Oh, yeah, that’s more like it. Shoot the messenger. Go ahead. The world is over anyway. The apocalypse is closer than ever, and people like you are speeding us there faster.

The CONSPIRATORS hold up another sign, which reads:

[SAY “ALOHA!”]

SPEAKER
Yeah, aloha to you too. I’m out of here. I’ve had enough of your complacency.

The SPEAKER tries to exit, but falls flat on their face. The CONSPIRATORS BOW.

56 - Morrissey

11.3.06

MORRISSEY enters.

MORRISSEY sighs.

MORRISSEY exits.

55 PLARGITE

11.2.06

The PLARGITE enters. There is an old typewriter atop a wooden desk with all sorts of paper strewn about. The PLARGITE is fittingly dressed. The PLARGITE sits before the typewriter, cracks knuckles and begins to type. An OFFSTAGE VOICE speaks, accompanied by a separate dumbshow.

OFFSTAGE VOICE
It was evening at the theatre that Bailey was after. A night of entertainment for his adoring fans, whose support had supplied his livelihood. Bailey walked into his apartment and began his ritual, a romantic act of stretches and turns that culminated in the lighting of a cigarette. Then, he typed.

A screen shows an old 8mm film playing out the following:

OFFSTAGE VOICE
This time the play was about the world as it was to him that very moment. His compression of the state of everything was all-encompassing; he left out no perceived detail. The first worlds spoke of the keys he struck. His next were of his thoughts and the stage directions dictated the insulated bubble within which he typed. The play became the play, which was a play about a play. How proud he could be, how new, how rich this world of text untapped. Hours passed, and the pages mounted until the first draft was born. When he looked away from his keys, he saw that a beard had grown, the days were shorter, and a full month had passed. He woke up from his dream world rudely, realizing that the fact of his writing itself had become the focus of his text. He set fire to the draft without a second glance at the work that had consumed his life for the past thirty days.

All action stops dead. The film pauses between two frames.

OFFSTAGE VOICE
So what do you think? What is your review going to say? Positive or negative?

Enter CRITIC with PLAYWRIGHT. The CRITIC wears a “press fedora.” The PLAYWRIGHT carries a short manuscript.

CRITIC
Haven’t you gotten past this phase yet?

PLAYWRIGHT
What phase?

CRITIC
The play within the play phase. The phase where you write about writers who write about writing. The “meta-theatrical” phase.

PLAYWRIGHT
I’ve only just begun to explore it…

CRITIC
You have, everybody else, meanwhile…

PLAYWRIGHT
Who is everybody else? They didn’t do it the way I did it. Did they? I did it differently, right? Because no one does things the way I do…

CRITIC
Lemme take it back to an anecdote. Last year, three different theatres produced three different plays about baseball. All three had a baseball game actually take place onstage at some point during the narrative. Months later, another theatre produced another play about baseball, only this one was all strange and modern and did everything in a way it hadn’t been done before, including excluding baseball from the actual play itself. One word was on everyone’s mind after the premier.

PLAYWRIGHT
Fascinating?

CRITIC
Derivative. Derivative derivative derivative.

PLAYWRIGHT
That’s four words.

CRITIC
Literalism is so cliché.

PLAYWRIGHT
Ok, so what should I do then?

CRITIC
Find your voice.

PLAYWIGHT
I have a voice, I’m using it right now.

CRITIC
No, you have a voice, but you don’t have a voice. You don’t have that something that makes me think you are at all worthwhile as a human being or that you have any business sharing your ideas with the rest of the class. Your point of view is well tread and over explored. Your demographic as a playwright is one that has already been heard from for far too long. Your characters are either too obvious or not well defined enough.

PLAYWRIGHT
Not well enough defined.

CRITIC
Exactly. What you need is more productions.

PLAYWRIGHT
More plays?

CRITIC
More productions. More chances for you to find your voice.

PLAYWRIGHT
But how can I get produced if you keep writing reviews about how bad my plays are?

CRITIC
That’s not what I’m doing at all.

PLAYWRIGHT
Your last review for my last production said “This playwright’s plays are really really bad.” The play before that called my work “the obvious and poorly defined ramblings of an infant writer who needs to find a voice.” You said I needed to address issues of authorship in my work, so I wrote a play about authors, and now you say I’m derivative!

CRITIC
You need to workshop your plays.

PLAYWRIGHT
This was a workshop! I’ve only ever had workshops!

CRITIC
Well, you are an emerging playwright. You haven’t had chance to outgrow your shell and break out into the scene. Give it time, you’ll find your voice.

PLAYWRIGHT
Why should I even listen to you anymore? Why I am I taking writing advice from a critic? You’re one person in a wider audience.

CRITIC
Because my reviews are run in a major metropolitan newspaper. And because no one will know who you are otherwise. And because what you do has been done a million bazillion trillion times before.

PLAYWRIGHT
What, writing a play?

CRITIC
A million trillion bazillion times before. I’m just separating the wheat from the chaff.

PLAYWRIGHT
Yeah, but I’m not chaff.

CRITIC
Says you.

PLAYWRIGHT
Says you.

CRITIC
Says you plus infinity.

PLAYWRIGHT


CRITIC
Don’t even say infinity plus one, seen it, been there, done that.

VOICE enters, dressed in a black leotard with the phrase “VOICE” written on it. VOICE performs a ballet of increasing intensity.

PLAYWRIGHT
So basically, I’m not worthwhile until I write a play that pleases you.

CRITIC
As a playwright.

PLAYWRIGHT
And I can’t write something worthwhile until I’ve had lots of productions.

CRITIC
Nope.

PLAYWRIGHT
And I have pointed out that I can’t get productions until I get the go ahead from theatres that read your reviews. Your reviews that tell them that I’m not worthwhile, because I haven’t had enough productions.

CRITIC
Your lesson here doesn’t escape my grasp, but I am as yet unintrigued.

The PLARGITE joins in the ballet.

PLAYWRIGHT
Do you have a shred of integrity left?

CRITIC
Now this has turned into a patent criticism of me and my profession!

The cast of the dumbshow joins in the ballet.

PLAYWRIGHT
It’s ok that you’re a shill. Because you are a shill, and eventually people will get that. And now I’ve found a purpose for my work, because I finally have an enemy.

CRITIC
Who, me? Yeah, that will be really constructive.

The old 8mm film plays again, only now it is an old ballet film.

CRITIC
What you’re doing here is a gimmick, it isn’t a voice or an ouvre. You aren’t doing anything significant or truthful here at all. Just because you’ve found yourself a cause doesn’t mean you’ve found a purpose. No, this isn’t anything more than a topic, and in the millennia length conversation that is theatre, it isn’t a topic that anyone is really going to care about or remember.

PLAYWRIGHT
You know what, you’re right.

All but the CRITIC and the PLAYWRIGHT disappear.

PLAYWRIGHT
You aren’t something I care about.

The CRITIC DISAPPEARS.

PLAYWRIGHT
Now to find something important to do.

54

11.1.06

THIRTEEN STRIPES.

A LARGE MOUND OF DARK DRY DIRT.

The audience is allowed to enter the space. They must remove their shoes before doing so. No food or drink is allowed in the space, but water is provided upon request. There are no conventional chairs, but a comfortable means for the audience to sit on or near the floor is provided. The preshow ends the moment AMBER enters. She is unkept and has bad taste in clothes. The THIRTEEN STRIPES become prison bars.

AMBER
I don’t care I’m not listening to you
Do you hear that I said that I don’t care
Because I don’t care I’m not listening
Hey are you paying attention to me
I’m talking to you!

Enter PERSON IN SUIT. They wear a very nice, but professional suit, are clean cut and a deceptive wig.

PERSON IN SUIT
I heard what you said!
Listen, Amber, I’m trying my hardest!

AMBER
Well shee-it your hardest ain’t hard enough
I have been stuck in this situation
Eatin’ chemicals and drinkin’ petrol…

PERSON
Listen, I’m trying to put aside cash-

AMBER
I don’t want your money I want real food
Homemade food and I want to feed my kids

PERSON
I know that you don’t have any children.

AMBER
I might have some someday you never know

PERSON
Yeah, but you declared on your tax returns-

AMBER
I said I’m not listening / can’t hear you
La la la la la la la la la la
Nope no food went deaf sorry nope no deal.

PERSON
/Amber I’m not coming by here for long
Listen, do you want some McDonalds? Yeah?
How about some Subway then-
Amber I don’t know what else to do.

AMBER
Help that’s your job right so why not just help

PERSON
It’s not that simple. We have forms to fill,
And we have quotas to fill, banks to fill,
Gas tanks to fill-

AMBER
Bellies to fill that’s me

PERSON
You’ve never had any children, Amber.
And I am through paying your rent. I’m done.
I’ve done all I possibly can for you.

The PERSON IN SUIT exits. The THIRTEEN STRIPES become a fence, over which AMBER can look but not climb.

AMBER
The neighbor’s lawn always looks so crappy. Look at all those brown spots. Then again, it’s more green than mine. Prettier too. They water that shit all the time, don’t they. Pour money into it than what it costs to feed themselves. I bet they planted those new pill flowers by the money tree. Maybe I could steal a few and start my own garden.

The suit would probly just take it away.
Can’t climb over this damn fence anyway.

The PERSON IN SUIT reenters with a large sign that reads:

[PERSON IN SUIT]

AMBER
I told you I don’t want any damn job
I just want my food and rent and that’s all

The PERSON IN SUIT sticks the sign into the mound of dirt. A dark wind is heard somewhere, but no one notices. After a staring contest, the PERSON IN SUIT exits.

AMBER
I fuckin’ told them a million times didn’t I? I can’t vote. Even if I could I wouldn’t fuckin’ vote for them. Jeebus. What did they ever do for me, GODDAMNIT!

AMBER plucks the sign from the MOUND OF DIRT and throws it to the ground. GOLEM emerges from the mound of dirt in a spectacular display. On its forehead, in Hebrew, is written Emet.

AMBER
HOLY GOD!
How long have you been under there?
Hello?

The GOLEM stands motionless.

AMBER
Do you talk?
Do you talk at all?
Dope.
Not you, that is, big scary dirt monster. I, ah, meant to say that, hrm, you are dope.
Yesh…

The GOLEM stands motionless.

AMBER
So do you even do anything?
Do something.

The GOLEM draws a border around AMBER

AMBER
Ok, uh, do something interesting.

The GOLEM makes a flag out of the THIRTEEN STRIPES.

AMBER
Ok, do something worthwhile. Go get me some money, and some food!

The GOLEM loudly clomps off in search of food and money. Later we hear offstage screams as the GOLEM fulfills its mission. AMBER walks tightrope along her border.

AMBER
We made a new friend today, children, didn’t we?
A big scary dirt monster that’ll help us get what we want hopefully.

(SINGING)
ONE: I’M THE SUN JUST HAVIN’ SOME FUN
TWO: I’M A ZOO DOIN’ SOMETHIN’ NEW
THREE: I’M A SNAKE SO DON’T STEP ON ME
FOUR FIVE SEVEN: I’M THE QUEEN OF HEAVEN

I wonder what all the fuss is about, children.
All those screams from down yonder.
Do you hear it? I do. Now I don’t. Now I do and I don’t at the same time.
And stomping…I hear stomping…
Getting closer…
Don’t be scared, children. Must be a figment of our imaginations.

The GOLEM with an armful of food and an armful of riches.

AMBER
You came back! And with what I asked you for! Kickass!

The GOLEM starts kicking its own ass.

AMBER
Well, don’t drop the food, gimme the goods first.

The GOLEM hands AMBER the goods. AMBER chows down and admires her new swag. The GOLEM stands still.

AMBER
What are you looking at me like that for? Don’t look at me like that.

The GOLEM covers its eyes.

AMBER
SWEET! An IPOD! I’m like the last person in the world to get one of these, you know? Ooh, and a portable dvd player. What, did you hold up a Sharper Image? I definitely owe you one, big scary dirt monster. You want some of this food?

The GOLEM stands still.

AMBER
More for me, I guess.

Enter PERSON IN SUIT. They look indignantly at the discarded sign, and don’t notice the GOLEM at first.

PERSON IN SUIT
What do you think you’re doing? Where did you steal all this shit from?

AMBER
I didn’t. It did.

PERSON
It…? HOLY GOD!

AMBER
You want some food?

PERSON
You know you need a permit for that! Mountains of paperwork! Certification from four different offices. I bet you don’t even have a license!

AMBER
For the food?

PERSON
I have a big problem with this, AMBER. A person in your situation is not meant to have anything like this Golem. /You don’t have any idea how expensive it is to keep one of these things under control…

AMBER
/What did you call it?

PERSON
…I can overlook the stolen property if you get it back to the rightful owners, but the Golem has got to go with me.

AMBER
Fine! Take it.

PERSON
You’ve got to tell it to come with me.

AMBER
You tell it to.

PERSON
It will only obey your commands. You have to be the one to tell it to come with me, otherwise it will just stand there without moving.

AMBER
Really…?

PERSON
You see, this is why you aren’t fit to care for something like this. You don’t even know what you’re messing with here. There are all sorts of ordinances governing how to deal with Golems that you are completely unaware of. Not to mention the taxes, lord, the taxes. You’ve probably already rung up a mile long bill. You’ll never be able to afford it.

AMBER
No. I can afford my new IPOD and my new poodle carrier. Why can’t I afford my new big scary dirt monster? You don’t get to tell me what to do anymore.

PERSON IN SUIT begins to back away…

PERSON
You could see it that way…or you could figure out that this is going to get reported whether you like it or not…

AMBER
Hold it right there!

The GOLEM stops PERSON IN SUIT.

PERSON
Just what do you think you’re doing?

AMBER
Putting food on the table for my children.

PERSON
You don’t have any children!

AMBER
I like your hair…

PERSON
Amber, let me go and I’ll forget all about this.

AMBER
Don’t tell me, tell the big scary dirt monster.

PERSON
Amber, this isn’t happy anymore. This is very bad…

AMBER
Give me that hair.

The GOLEM removed the wig from PERSON IN SUIT, revealing a bald cap. Screams, laughter and chaos as AMBER wears the wig.

AMBER
La la la la laaaaa.

Six of the THIRTEEN STRIPES disappear, leaving SEVEN STRIPES, still arranged as a flag.

PERSON
Amber, I’m giving you one last chance to stop this! Stop this right now!

AMBER
Oh, go jump off a cliff…

The GOLEM drops PERSON IN SUIT and begins to walk off. PERSON IN SUIT exits running frantically.

AMBER
Not you! Them! Go get them and throw them off a cliff!

The GOLEM exits. Amber skips along her border for a short time. She hums the melody to the previous song. We hear the offstage screams of PERSON IN SUIT. Then AMBER begins to make bomb noises as she pretends to be an airplane, a machine gun and God. As she pretends, the sounds become more real until the GOLEM enters. AMBER straightens out her wig.

AMBER
Oh. You. I Didn’t expect you so soon.
Don’t I just look positively gorgeous?
Aren’t I the most glamorous thing ever?

The GOLEM stands still.

AMBER
Huzzah! I am so great, great great greatest!

Sound of millions of babies crying from behind the audience.

AMBER
FUCK! I forgot the babies. Motherfuck,
I’m so tired of my children, you know?
All they do is piss me off. The bastards.
Why don’t you just go and kill them for me?

AMBER whistles her tune as she spins and dances on her border. The GOLEM walks menacingly toward the audience. Blackout.

Wednesday

53 - "The Time Travelling Penguin"

10.31.06

THE AUDIENCE sits in a semicircle on brightly carpeted floor. In the center of the semicircle is a comfortable wooden chair with no arms. Soon the teacher enters, dressed in soft cotton colors and tweed. The teacher puts on glasses and addresses the AUDIENCE.

TEACHER
Today we’re going to read one of my favorite picture books. This book is called “The Time Traveling Penguin.” It is by Maximilian Griffin, who also drew the pictures. Isn’t the cover wonderful?

The TEACHER carefully shows the cover to the audience.

TEACHER
Here we go. Page one. “THE TIME TRAVELLING PENGUIN, BY MAXIMILIAN GRIFFIN. Once there was a scientist who liked to do amazing experiments. She would cure diseases, collect animals and invent wonderful new soda-pops that were actually good for you!”

The TEACHER stops to hold the book out to the audience. With one hand, the TEACHER holds the book open to display a picture of a kind old scientist sharing a brightly colored soda with a penguin. The TEACHER turns the page after all have had a look.

TEACHER
“One day, the scientist decided to invent a time machine. After hours of planning, building and calibrating, the scientist had finished. She made some sandwiches and filled a canteen with water, and loaded up the time machine with supplies.”

The TEACHER stops again. This time the picture is of the scientist muddied up like a mechanic, with the penguin eating a sandwich from her pack. The time machine is big and bronze, with rivets.

TEACHER
“When the scientist was ready to test out her new invention, she sat in the pilot’s seat and pressed the big red button. Only nothing happened. She couldn’t understand why, after all, she had worked really hard on her time machine!”

The TEACHER stops, though this time a bit faster and carelessly. Now the picture is of the scientist pressing a big red button with a furrowed brow, while the penguin sits next to her worried. The TEACHER rushes through showing this picture around. Some of the audience doesn’t get to see this picture unless they object. The TEACHER continues the story.

TEACHER
“’I’m going around back to see what the trouble is’ said the scientist ‘what ever you do, penguin, don’t push the red button.’ And so the scientist went around the back, where she found that all she needed to do was put in the batteries! Meanwhile, the penguin sat alone with button…”

Now the picture is of the scientist outside while the penguin stares at the red button nervously.

TEACHER
“…And waited…”

Now a picture of the penguin alone with the big red button.

TEACHER
“…And waited…”

Now a picture of the penguin sweating over the button.

TEACHER
“…Until the penguin couldn’t stand it any longer. The penguin lost all patience and pushed the big red button. Unfortunately, the scientist had just finished changing the batteries a moment before, and the time machine flew off into the future!”

The TEACHER shows a picture of the time machine and the penguin exploding in a flash of color, while the scientist still. The TEACHER finds this particularly funny.

TEACHER
“The penguin steered the time machine through a strange vortex of color. Different clocks whizzed past the time machine, and all sorts of weird sounds buzzed around the penguin’s ears. It was very disorienting!”

A picture of the penguin flying through space and time.

TEACHER
“Finally the penguin landed in the future. The time machine stopped in the scientist’s lab, only now it was filled with even more inventions, including a new time machine! The penguin also saw that there was a new penguin, or rather, a different penguin that looked much older.”

A picture of the two penguins. One has a long white beard.

TEACHER
“ All of a sudden, the penguins heard a noise from outside the lab. It was the scientist! Only now she was very, very old. She walked with a cane spoke with a weak voice.”

A picture of the scientist greeting the penguin. She too has a long white beard. The TEACHER points this out with a giggle.

TEACHER
“‘PENGUIN! There you are!’ she said ‘I told you not to push the red button! Now you are in the future, and you need to go back! There can’t be two of you! You are supposed to be unique! Get back in your time machine and push the red button again!’ And so the penguin went back into the time machine…”

A picture of the penguin getting back into the time machine sheepishly while the old scientist and the old penguin yell.

TEACHER
“…And again, the penguin pushed the red button. Going back in time was different from going forward. The past looked like the world from high up, and the penguin felt like the time machine was falling down fast. Clocks flew up beside the time machine, as it picked up more and more speed.”

The TEACHER stares at the picture for a moment, forgetting about the audience. The picture is of the time machine falling toward the Earth very fast, with the penguin holding on for dear life. The TEACHER does not show this picture unless the audience protests.

TEACHER
“The time machine fell so fast that it went through the earth and landed in the past! The landing was soft, like falling on a million pink pillows. When the penguin got out of the time machine, it was in the lab again. Only now the lab was nearly empty, except for a small chemistry set. Again the penguin heard a rumbling from outside…”

A picture of the penguin in a sparse room with a lone chemistry set. A big shadow looms large from outside.

TEACHER
“…And it was a little girl! Instantly the penguin recognized the little girl to be the scientist, but the scientist did not recognize the penguin. The penguin waved hello and how-do-you-do, but the little girl was scared and thought the penguin was a stranger.”

A picture of the penguin flailing about in front of a nervous little girl. The TEACHER points at all the different ways that the penguin tries to say hello.

TEACHER
“So the penguin decided to go back to the present. It went back inside the time machine and pushed the red button one last time.”

A picture of the penguin in the time machine again, dejected.

TEACHER
“When the penguin came back to the present, the scientist didn’t even notice it was gone. It was as though the penguin was gone for less than a moment. The scientist climbed back into the time machine and patted the penguin on the head. But right before she pressed the big red button…”

A picture of the scientist with the penguin in the time machine.

TEACHER
“…the penguin leapt out of the time machine! There was a big bright flash!”

A picture of the penguin leaping out of the time machine, surrounded by a bright light.

TEACHER
“When the penguin landed, it saw the time machine as though nothing had happened. The scientist walked out a little confused and turned to the penguin, saying ‘You’re glad you didn’t do that. The future was scary, and no one recognized me in the past. I think I’ll just stick around in the present and live in the day to day.”

A picture of the scientist and the penguin, both looking dazed.

TEACHER
“And the penguin agreed. ‘It’s fun to visit the past, and it’s exciting look at the future’ the penguin thought ‘but living for today feels like the right thing to do.’” That’s the end.

The TEACHER holds up a page that says “THE END.” The TEACHER pauses and looks into the eyes of everyone in the audience. They are both the past and the future. The TEACHER either smiles with contentment or frantically runs out of the room without saying goodbye.

52

10.30.06

A LARGE ROOM with TWO DOORS, one at either end. Audience members are instructed to walk in single file across the room. When they enter, the room is dark, except for light coming from the two doors. As they walk across, warm, amber light pulses in the room, making elements of the room barely visible. In the first few steps, there are various toys strewn about. We hear distant sounds of children mixed with echoing drips. As the steps continue, so do the drips, where we hear the sound of sports and forgotten prom nights. Here we se our first couples, in prom attire, making out. The steps move on past piles of textbooks and groups of people making out. The drips now echo with the sound of famous speeches including that of James Joyce reading his own work. A few steps later and we see blood, followed closely by the sounds of war, still distant, though not as distant as the other sounds. We see dead bodies on the floor, some of them disfigured. One body is lies atop a wedding cake. The last few steps are through real grass, as the audience makes their way through the other door. On the other side of the door, ushers hand out wedding cake and take prom photos of the audience standing next to soldiers of both gender. The mood is that of a high school dance until a nurse runs in, covered in blood, screaming:

NURSE
IT’S A GIRL!

All the ushers and performers applaud. The new mother emerges, and is crowned prom queen. The baby (in this case, a doll) is dressed up as a soldier and given a rifle. Cigars are distributed along with candy and ammunition. Eventually the principal asks everyone to have a safe ride home.

51

10.29.06

A LONE PLAYER at a chessboard, facing the audience. The LONE PLAYER has a rook and a king. The audience has only a king. The lone player makes a move and stands up.

LONE PLAYER
CHECKMATE! Oh, wait, shit…

The LONE PLAYER sits down. The move was not checkmate.

50

10.28.06

A HUGE GROUP OF PEOPLE stage an imaginary race between a flea, a tick and an Asian beetle that everyone always mistakes for a ladybug. Fans cheer. An announcer and color commentator narrate. Serious money is gambled. The flea wins.

49

10.27.06

“A play is a ritual.
A celebration.
An encounter.
A conversation.
An emotional give and take.
And it all happens in the mind of the audience.”
-Chris Leyva

A CONFESSIONAL. Concealed, two voices speak from within.

1
Is that honestly the extent of your wrongdoing?

2
Yes, father.

1
The lord has eyes you know. The lord can see you sinning.

2
Yes, father. I know.

1
The lord knows that you are sinning right now. Lies by omission are lies nonetheless.

2
Yes, father.

1
You are lying to me now.

2
Yes, father.

1
Do you wish to confess further?

2
No, father. I mean yes, father. Yes I would.

1
You may proceed.

2
I bore false witness, just now, by not saying something that I did wrong and confessing my guilt. I lied by omission, father, and for that I beg forgiveness.

1
Go on.

2
I have done other things…sinned in other ways.

1
Ways you haven’t yet mentioned?

2
Yes, father.

1
I see. Continue…

2
Sometimes, I’m so sorry, I’m so afraid to admit this…

1
You have nothing to fear from me and everything to fear from God.

2
I let horrible things happen to me. I can’t stop them. Sometimes a demon crawls into my ear and speaks to me. Tells me to do things.

1
Does this demon tell you to sin?

2
Yes, father.

ANOTHER PENATANT enters, fighting the urge to eavesdrop.

1
How?

2
The demon tells me that I can become things. Anything I want. Like the first time I became a great pharaoh, and I had an enormous harem that I would have relations with every night. The demon’s fantasy lived on and on, and it felt like I spent an eternity as the pharaoh, until I woke up in my bed and I was me again, alone and afraid.

1
Satan will always leave you alone in such ways.

2
Yes, I know that now…

1
You said that was the first time?

2
Yes.

1
So there have been other occasions?

2
Yes, there have been. Many other occasions. Every night in fact the demon crawls into my ear, right before I fall asleep. I tried putting cotton in there, but then the demon would just pull them out and put them back again from inside. It makes me feel like I am someone else, someone different every night. One time I was Marie Antoinette. Another night, a few weeks ago, I was the victim of Jack the Ripper. I could feel the knife go in and cut me to pieces, it was awful, I knew I was sinning!

1
Well, after penance, your sins will be forgiven, and this demon will have no place in your ear at night ever again. The lord will take care of that.

2
Will he? It doesn’t just crawl in at night anymore! And not just in my ear. It crawls in, other places. During the day now! It makes me become things when I’m awake.

1
What does it make you become?

2
A farmer in China, a ghost in sub-Saharan Africa, a whale in the sea…

1
This is utter nonsense. You are lying to me again, aren’t you?

2
No! I swear!

1
You’re covering up for something you’ve done wrong! Something worse than what you’ve told me! The lord has eyes and ears, and knows when you’re lying!

The ONSTAGE PENATANT can’t help but listen close.

2
It’s horrible!

1
What is?

2
What the demon makes me become!

1
What? What does the demon make you become?

2
A priest! The demon makes me a priest!

1
…are you telling the truth?

2
yes, father. I am.

1
Do you realize how great a sin it is to impersonate a priest?

2
yes, father, I do.

1
Worse than robbery. Worse than lying. Blasphemy is almost worse than murder.

2
I know, I know…

1
Some murders can be justified, even forgiven. Blasphemy cannot.

2
You mean I’ll bear the wait of this sin forever?

1
I’m afraid so…

2
Isn’t there anything I can do?

1
I’m afraid not…

The ONSTAGE PENATANT quietly grieves for the confessor.

2
Does that mean…

1
…yes…

2
…I’m going to hell?

1
That is not for me to say or decide. That is for the Lord.

2
Isn’t there any way I can repent?

1
That is for the Lord.

2
I repent! I REPENT!

1
The most I can do is give you penance and pray for you.

2
What is my penance?

1
Are you prepared? It is the worst penance the Holy Spirit has ever instructed me to give.

2
I am prepared.

1
You must go light a candle…

2
Yes…

1
…and say one thousand novenas…

2
Yes, yes I can do that…

1
…and you must expose yourself to the people of the town and beg your forgivness.

Confusion from the ONSTAGE PENETANT.

2
I beg your pardon?

1
You have pretended to be something that you are not, yes?

2
Yes, I have…

1
So you must expose yourself and show them who you really are. Even if it terrifies them, they must know the truth. And you must take no pleasure in it.

2
I understand.

1
Furthermore, they must not know that you are to expose yourself. They would avert their eyes from the truth. So you must surprise them, and only give them a swift glimmer of the truth. A flash of your penance.

2
I see. I know what I must do.

1
Only then will you be forgiven.

2
Thank you father.

1
I will say a prayer of contrition for you privately. Praise be to God! Your soul has been set free! Walk forever now without sin! Go now and do the Lord’s work!

2
Yes father! Thank you, father!

1
God have mercy on your soul.

The ONSTAGE PENETANT stands at attention. 2 exits the CONFESSIONAL and slowly exits the stage, engaged in a staring contest with the ONSTAGE PENETANT the whole time. After a moment of relief, the ONSTAGE PENETANT enters the confessional. Instantly, the ONSTAGE PENETANT leaps out, and opens both confessional doors, revealing that it is empty. The moment the ONSTAGE PENETANT realizes what has happened, 2 re-enters and flashes the ONSTAGE PENETANT, immediately running off afterward. Confusion. Blackout.

48 MONDRIAN

10.26.06

Walking from offstage on and off again in one direction. Perpendicular lines. Never repeating the action. When 2 walk, they move in parallel. When 4 walk, they form a square. Occasionally elements of a square stop and freeze in place. When 8 walk, all remaining performers walk in a continuous square around the previously frozen performers. This does not necessarily happen before the end of the piece. When all performers have frozen, the action has ended. All actions are accompanied by recitation of described text. Recitation does not stop when a performer freezes, until all performers have frozen in place. This piece is meant to be accompanied by primary colors.

1 OEDIPUS REX IN ANCIENT GREEK

1 THE ALCHEMIST BY BEN JONSON

1 THE UNSEEN HAND BY SAM SHEPARD

2 LIFE IS A DREAM BY CALDERÓN IN SPANISH

1 TOP GIRLS BY CARYL CHURCHILL

4 LUCKY’S SPEECH FROM WAITING FOR GODOT BY SAMUEL BECKETT IN FRENCH

1 GIANTS IN THE SKY FROM INTO THE WOODS BY STEPHEN SONDHEIM & JAMES LAPINE

1 UNCLE TOM’S CABIN BY HARRIET BEECHER STOWE ADAPTED BY THOMAS AIKEN

4 4:48 PSYCHOSIS BY SARAH KANE

2 THE MIKADO BY GILBERT AND SULLIVAN

1 LARGO DESOLATO BY VACLAV HAVÉL IN CZECH

4 ORIGIN OF LOVE FROM HEDWIG AND THE ANGRY INCH BY JOHN CAMERON MITCHELL & STEPHEN TRASK

4 CRUMBLE: LAY ME DOWN JUSTIN TIMBERLAKE BY SHEILA CALLAGHAN

1 THE EMPEROR JONES BY EUGENE O’NEIL

1 EVERYMAN IN OLD ENLISH

1 THE CHILDREN’S HOUR BY LILLIAN HELMAN

2 THE NAPOLEONIC CODE SPEECH FROM A STREETCAR NAMED DESIRE BY TENNESEE WILLIAMS

1 ANYTHING BY CHARLES MEE

1 THE BIRTHDAY PARTY BY HAROLD PINTER

4 IN THE BLOOD BY SUZAN-LORI PARKS

1 DULCITIUS BY HROTSVITHA IN GERMAN

1 MASTER HAROLD AND THE BOYS BY ATHOL FUGARD

2 THE LEARNED LADIES BY MOLIÈRE IN FRENCH

1 ALOHA SAY THE PRETTY GIRLS BY NAOMI IZUKA

8 THE TEMPEST BY WILLIAM SHAKESPEARE

 
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