Dave as "Willy Loman" on the cover of Compass Magazine

http://staugustine.com/entertainment/arts/2010-06-09/death-salesman-stage-through-june-20There is a positive review attached to the link, too. We have had standing ovations for the first two weeks. Four performances are left!

Death of a Salesman (Willy Loman) and The Globe Theatre Trip

I have neglected this blog for too long. But, I hope to use it for documentation of my upcoming theatre work. Today, I was cast as the quintessential American theatre tragic character, Willy Loman, in Arthur Miller's Death of a Salesman. Although I consider myself very young to play this role, the director appreciated the choices I made throughout the audition process. Thank goodness for aging makeup. Dustin Hoffman won several awards for his portrayal in 1985 when he was around 50, I believe. Mr. Hoffman aged himself for the role, but I am ten years younger than Hoffman was at the time. I went into the audition with Biff in mind. And I did read for both sons a few times, but I found myself being called again and again for uilly. I didn't know if she (the director) had a Willy already cast that wasn't at the audition, or is she was genuinely considering me. I think it took pressure off of me and allowed me to be there to support everyone else that was auditioning. Perhaps that's part of the secret: make everyone else look great on stage with you...it will make you seem to "fit" the potential cast. Our first rehearsal is next Thursday, April 29th, 2010. I'll start working on lines before then.

The other major news is that I will be in London for the entire month of July. I was awarded a scholarship from the English Speaking Union of the United States (Jacksonville Branch) to study and perform on Shakespeare's The Globe theatre. We will be working on the four productions in rep. at The Globe: Henry IV, part I; Henry IV, part II; The Comedy of Errors; and Henry VIII. The first three shows are well regarded as works with great merit. Henry VIII is perhaps most famous for the canon shot that burned the orginal Globe down during Shakespeare's life. It was written as fictional propaganda: Elizabeth I wanted her father to be shown in a more postive light that history has come to paint him. I have just finished making all the necessary arrangements for the trip. I cannot express to you what this trip will mean to me; the Globe is my personal mecca. If theatre is my passion, Shakespeare is the heart of it. To help pay back my Shakespeare experience to the ESUUS, I will be directing a Shakespearean play at my high school next season (yet to be determined), and I will direct The Merchant of Venice at Players by the Sea in Jacksonville Beach (Auditions in early December/Performances in March 2011). With any luck, I also hope to be in the cast of Romeo and Juliet at Theatre Jax in the fall. I'll keep you posted.

The Importance of Being Earnest: A Foreshadowing of Oscar Wilde's Final Days

The Importance of Being Earnest: A Foreshadowing of Oscar Wilde's Final Days

Dave A. Thomas / Post-graduate essay

(Please note that the following remains the property of Dave Alan Thomas; please ask permission to borrow ideas from this essay.)

In The Importance of Being Earnest, Oscar Wilde not only makes use of autobiographical elements from his past, but his tone alludes to actualized events of his future. Certainly, many authors of drama or otherwise often imbrue their life experiences into their plots. Although Earnest is not as autobiographical as other plays, like Eugene O'Neill's A Long Day's Journey into Night, Wilde's characters do express thoughts based on experiences from their author's past. However, what makes this play unusual is how its wordplay gives a glimpse or prediction of how the author, Oscar Wilde, will live out the rest of his life.

First presented in 1895, The Importance of Being Earnest is traditionally thought of as Oscar Wilde's masterpiece of the comedic genre (Abrams 1761). The primary plot of the play concerns the trivial problem of Jack Worthing, who wants to marry Lady Bracknell's daughter, but she will not marry anyone unless his name is Earnest. This, Wilde's final play, was greeted by the British press with “almost unanimous praise” (Knox 93). Along with A Woman of No Importance, Wilde had two hits running at the same time (Knox 93). However, this theatrical high was juxtaposed with Wilde's ongoing personal battles (Knox 93).

Before Oscar Wilde was imprisoned for a two-year sentence on homosexual charges (Hyde 293), his earlier life, including his childhood and marriage, can be seen reflected in the witticisms of The Importance of Being Earnest. Oscar Wilde had an extremely strained relationship with his brother, Willie (Belford 17). One particular incident that showed the schism was in their childhood. Willie barely escaped tragedy when his nightshirt went up in flames as Oscar “clapped his hands with delight” (Belford 17). In their nursery, these “dark furies” created a “hothouse atmosphere” that permeated later into The Importance of Being Earnest (Belford 17). Years after, when Willie married for the second time, to Sophia Lily Lees, Oscar's mother, Speranza, scolded Oscar for being absent from the wedding (Belford 231). Wilde's feelings for his brother were penned in Earnest with Gwendolen's line to Cecily: “Now that I come to think of it, I have never heard any man mention his brother. The subject seems distasteful to most men” (Act II, sc i).

Speranza was the self-given pseudonym of Jane Elgee, who was to become William Wilde's wife after knowing each other for only a brief period of time (Belford 7). Oscar's familiarity with short marital engagement is echoed by Lady Bracknell in Earnest, who says she is “not in favor of long engagements,” because “they give people the opportunity of finding out each other's character before marriage, which I think is never advisable” (Act III, sc i). Oscar Wilde's own proposal for marriage to Constance Lloyd in 1884 seemed likely to be off-the-cuff as well, and probably resembled Jack's proposal to Gwendolen (Belford 128). Jack asks, “may I propose to you now,” and Gwendolin replies, “I think it would be an admirable opportunity. And to spare you any possible disappointment, Mr. Worthing, I think it only fair to tell you quite frankly beforehand that I am fully determined to accept you” (Act I, sc i).

Characteristics of the man Oscar Wilde can be found in several of his characters in The Importance of Being Earnest. As a notorious smoker, Wilde shares one of his favorite vices with Jack Worthing. Wilde's sentiments for smoking are found in several of his works, including Earnest. When Jack Worthing admits to Lady Bracknell that he smokes, she replies, “I am glad to hear it. A man should always have an occupation of some kind” (Act I, sc i). Another interesting similarity regards Jack's sole proof of birth being a “black handbad” found “at Victoria Station” (Act I, sc i). Wilde's own family included “three illegitimate half siblings” (Belford 232). However, a contrary argument for who might best represent Wilde exists in his women characters. Wilde's dandie side is reflected in Lady Bracknell, who chats “away on fashion and behavior” (Belford 232). Perhaps it is in the balance that we define Wilde. Barbara Belford asserts that “Wilde was most comfortable in the liminal zone between masculinity and femininity” (232).

On opening night of The Importance of Being Earnest, only fellow Irishman and playwright, George Bernard Shaw, met the play with discord, saying it left him “with a sense of having wasted my evening” (Pearson 228). Perhaps Shaw was voicing some jealousy over Earnest's smashing success, but he could not have envied Wilde's upcoming legal dealing over his personal life. Wilde married Constance with the intention of spending his life with her; he did not imagine how his life would be complicated by Robert “Robbie” Baldwin Ross (Belford 138). When Lady Bracknell asks Jack if he knows “everything or nothing,” Jack responds, “I know nothing” (Act I, sc i). Lady Bracknell replies, “I am pleased to hear it. I do not approve of anything that tampers with natural ignorance” (Act I, sc i). In his personal life, Wilde's claim of not knowing would be applied to his “not guilty” defense of sodomy. Perhaps Wilde was also saying that if people did not “tamper” in his personal affairs, they would remain naturally “ignorant” of his lifestyle. Although she was not speaking of “sexual confusion” (Belford 138) in the play, perhaps subconsciously Wilde was writing advice to himself to speak of nothing on the subject in order to keep others ignorant.

Troubles on the opening night of The Importance of Being Earnest were narrowly avoided, but not overcome. Lord Queensberry's son, Lord Alfred Douglas (“Bosie”), was threatened to be disowned by his father unless he discontinued his association with Wilde, but Douglas refused (Hyde 195). On opening night, word had spread that Queensberry was planning to “harangue” the audience and was therefore denied entrance to the St. James Theatre over fear of him creating a public scene (Hyde 195). Not to be dismissed, four days later Queensberry left his card at Wilde's club accusing him of “posing as a sodomite” (Hyde 196). Swearing his innocence to a solicitor, Wilde applied for a warrant for Queensberry's arrest on the grounds of criminal libel (Hyde 197). Queensberry was eventually found to be not guilty, and is so doing proved that his remarks of Wilde were indeed true (Hyde 222). The first of two trials were held against Wilde. Because the jury could not agree (Hyde 266), Wilde was released on bail, free for only three weeks, until a second trial was scheduled (Hyde 269). The tables had turned. Alfred Taylor and Oscar Wilde were tried on homosexual charges, found to be guilty, and imprisoned to two years with hard labor (Hyde 293).

Oscar, like his punning character, Jack, was learning “for the first time in” his “life the vital importance of being Earnest” (Act III, sc i). While the title and this last line suggest to the public that life is a joke, for Wilde it was a personal and prophetic warning (Knox 95). It was not until this play that Wilde realized that he could not “go on living without avoiding a catastrophe” (Knox 95). The idea of matrimony is both rejected and accepted by the upper class British gentlemen in this final play (Knox 95). With the use of paradox, Wilde disguised the “trivial as serious and vice versa” (Knox 99). Wilde had this to say about the theme of the play: “We should treat all trivial things of life very seriously, and all the serious things of life with sincere and studied triviality” (Knox 99). Wilde announces or predicts that he is about to live not just different, but “illicitly different,” and hints about living “openly as a homosexual” (Knox 99).

Wilde had conquered the British theatrical world with The Importance of Being Earnest, so the question must be asked, why did he jeopardize his position of prominence by challenging Queensberry's accusations of homosexuality? Wilde had already contracted syphilis during the writing of Earnest, and he was certainly aware of his weakening state (Knox 96). When Queensberry left his card at Wilde's club accusing him of “posing as a sodomite,” Wilde decided to sue Queensberry for criminal libel (Hyde 196). This had two inevitable effects. First, with Lord Queensberry involved, his son, and Oscar Wilde, this would be a front-page news story, thrusting questions about social injustice and homosexuality into the limelight. Second, an end to Queesberry's assaults would be reached, one way or the other. If Wilde won the case, he and Bosie may have been finally free to live out their last years without the constant harassment from Queensberry. If Wilde lost the case, Wilde would be forced into a trial and an admittance of his lifestyle. This admittance, in some aspect, a self-acceptance, would also clear his conscious and waylay further speculative persecution. Despite a jail sentence with the second outcome, if Wilde could outlive it, there was a hope that he could then live as himself.

By avoiding “shrill morality” in the “uninterrupted laughter” of Earnest, we see Wilde's ensuing acceptance of himself (Knox 95). Behind this laughter is veiled Wilde's preparation of his demise (Knox 95). Wilde relaxes, free to laugh, because he understands the “inevitability of his fate” (Knox 95). Through laughter, Wilde was able to free himself from his “anguish” (Knox 95). Lady Bracknell says, “Never speak disrespectfully of society, Algernon. Only people who can't get into it do that” (Act III, sc i). However, with Wilde's insightful and popular writing, he had managed to do both. He had become known in British society, and at the same time been able to make his witty criticism (Knox 96). Perhaps knowing that he would soon admit to the world his love for Bosie, he had no fear of walking on thin moral ice in The Importance of Being Earnest. In this research, one must admit that several statements that have been made are a reach in logic, at best. Some of the guesses at Wilde's personal motives are made from a modern perspective, versus the Victorian mindset. However, the initial idea seemed worth the investigation, even if the discoveries exist in the world of the “perhaps” or “possible,” but not probable.


Author's note: Since writing this first essay, I have come into contact with Richard Ellmann's authoritative biography. A revision of this essay would include support from this monumental work. Additionally, there have been new works in the past years that might lend support for or against these statements: Irish Peacock and Scarlett Marquess: The Real Trial of Oscar Wilde by John Mortimer and The Unmasking of Oscar Wilde, by literary biographer Joseph Pearce.

Works cited

Abrams, M. H., ed. The Norton Anthology of English Literature. seventh edition, volume 2. New York: W. W. Norton & Company, Inc., 2000.

Belford, Barbara. Oscar Wilde: A Certain Genius. New York: Random House, Inc., 2000.

Hyde, H. Montgomery. Oscar Wilde: A Biography. New York: Harford Productions, Inc., 1975.

Knox, Melissa. Oscar Wilde: A Long and Lovely Suicide. New Haven: Yale University Press, 1994.

Pearson, Hesketh. Oscar Wilde: His Life and Wit. New York: Harper and Brothers Publishers, 1946.

Wilde, Oscar. “The Importance of Being Earnest.” The Norton Anthology of English Literature. seventh edition, volume 2. New York: W. W. Norton & Company, Inc., 2000.

Terminal Relationships: An Online Play Writing Experiment

Recently, I sent this idea for writing a play via the internet to a few friends. The instructions that I sent them are below. Underneath the instructions are two of the plays currently in progress; please note that they are incomplete and all content remains the property of the playwrights involved.
The process:
One of us suggests a location for the “play” to take place and begins to write the setting for the play (henceforth known as “A”).
This information is then emailed to the second writer (henceforth known as “B”).
“B” then introduces the first character and the first line of dialogue and sends the document back.
“A” then introduces the second character and the second line of dialogue.
By keeping the play to these primary two characters, we can focus on the voices of these characters and thus guarantee that they have their own unique way of thinking and speaking.
Walk-ons/voiceovers/extras/minor characters can also make appearances, if necessary.
The play can take on any style: impressionistic, absurdist, realistic, romantic, etc. If multiple scenes develop, multiple styles can be explored.
If possible, we should try to respond at least once a day. That’s only one line of dialogue a day, but it could be more, if we both find that we have the time.
The first experiment:
To start with, I am thinking of doing a series of scenes in the same location to see what develops. Perhaps new characters inhabit the following scenes, perhaps a repeating character occurs.
For the first project, I am thinking of scenes that take place in an airport departure terminal. The working title of this first experiment is “Terminal Relationships.” So let me start off as “A” for this one…

Terminal Relationships

by

Dave Alan Thomas and _________________

(Scene: An ordinary airport terminal. This is the waiting area for departing transit.)




THIS IS THE FIRST COMPLETED PLAY: Please excuse the formatting errors due to copy and paste through various programs.

Terminal Relationships

by

Dave Alan Thomas and Robert J. Ammidown

(Scene: An ordinary airport terminal. This is the waiting area for departing transit.)

BRANDON:

That was quicker than I expected. You want to get a drink at the lounge? We’ve got time before our flights. Are you sure you got the right shoes out of the bin? They don’t look like yours.

ALEX:

(ALEX is preoccupied with his thoughts.)
I don’t know; I can’t keep our stuff straight. I thought these were mine. It’s been a while since I’ve had to dress up for anything. Does it matter?

BRANDON:

We can share shoes! Why doesn’t that surprise me? They look good with your suit, keep ‘em. Yours need breaking in. Feels weird not being on the same flight.

ALEX:

Yeah. Thanks for taking care of the tickets. I didn’t know you wouldn’t be able to fly out with me when you got them. I guess that sort of defeats the purpose.
(ALEX looks at shoes.)
I guess they are a little large. Sorry, I wasn’t really awake.
(a slight pause.)
You didn’t have to come, you know. I didn’t think about how weird it might be for you…

BRANDON

So, we won’t be a mile high together, can we use our cells in flight? That’s got to count for honorary membership, at least. Anyway, you know I’ve done weird.

ALEX

(a faint attempt at levity.)

That’s true. I’ve seen the pictures.
(unable to sustain the light-heartedness.)
I just know that it will be awkward and I know that you hate that. You won’t even talk to strangers or acquaintances on the phone; you always dial and make me talk.
(facing a reality.)
Crap. What am I going to say to Glen’s mom? I felt uncomfortable around Glen’s family back when we were together, but now…

BRANDON

You don’t need her approval. You speak with me from your heart because we’re good with each other, but it’s not necessary. You could say the same if we weren’t. Sure, it’d be nice to see her open up, but if she doesn’t, let it be on her and not because you spouted out some garbage about how much you’re going to miss having a brew with your buddy. Just get it out of the way first and move on.

ALEX

I don't think she really believes that we were just buddies anymore. I never bought the naive-mom act. Moms always know. Christ, it's been a couple of years...who knows what Glen told her at the end.

BRANDON

(freaking)
You’re right. This is going to be uncomfortable for me. I lied to you. I booked us on different planes deliberately. I thought if you got there first you’d break the ice, but there’s ice and then there’s an iceberg. And then there’s me and I’m going to walk into the middle of it. If you can sink in an airport, then I’m the Titanic.

ALEX

Oh, shit. He's unleashed his metaphors. I think that's your gay super power: the innate ability to disguise your weaknesses with wordplay. What the hell, Brandon? If you were so interested in being there for me, then, be there for me. I fly by myself; I meet them by myself, and then I get to "break the ice" by myself. I mean, I guess I knew I was going to have to do it anyway, but somehow I thought the man that had pledged to love me would be in the background somewhere when it was happening.

BRANDON

Fuck, I’m caught. I told you, its true, I could have just left it to chance, but I manned up. I feel bad. I don’t want you to go through it all alone, I just thought, what the hell is an hour delay in our planes landing? I’m going to be beside you all the rest of the time. I’m with you, I’m here. I’ll be there. What the hell is an hour anyway. It’s a time for you to man up and get the truth out. Then I get there and I’ve got your back the rest of the time.

ALEX

You want credit because you are honest about lying? That's some screwed up logic. Better late than never, I guess...with both the truth and eventually being at my side. I'm not mad at you, Brandon. This is who you are, who you have been, and I shouldn't expect something different now; I'm not blaming you for that. I guess I should be upset at myself for hoping for something different. This whole situation just sucks.

BRANDON

(At the airport “beverage” area)
Scotch on the rocks, double….two. Okay, it’s not for you. I know you don’t want it. (takes the first drink) You know what it’s like, living in his shadow? I know I’m not a rebound, you’ve been through those, but I’m not him. I’m not heroic or even particularly brave. I don’t have a gymnast’s body and if I can hold my legs over my head for fifteen minutes, you’re lucky. There’s no credit in admitting a lie. But there’s none in going in that chapel or parlor or whatever it is they’ve put him in and pretend I’m as good as him at your side. I’m not him and never will be. (gulps the rest of it.)But I’m here.

ALEX

I won't pretend that I haven't compared my partners, in one way or another, in my mind. I think everyone does that at some point, consciously or unconsciously. It's not that you are not Glen. After all, my relationship with Glen ended. Of course, I have been waxing poetic about him now, that's natural when you lose...when you lose someone you loved. It's just, well,...death. It makes you think about your own life. It makes you wonder, is this all there is for me?...what I have now....where I am now...I dunno.

BRANDON

Now…. I don’t know if I’m going to be with you tomorrow. I could lose you, or you, me. I hate change, but change is all there is. You had Glen when I had nobody. You broke up with Glen and I have you now. Glen dies and we’re here sharing Glen together. I don’t see it like you do. We’re travelers, literally and figuratively. God, I hope this isn’t pathetically idealistic, but you’re part Glen. You can’t spend time with someone and not absorb a piece of them. You’ve been cut off from the rest of him, so the part of Glen that is you is confused. You’ve been with me long enough that I’m part of you now, too, or you wouldn’t have me here. It’s the same thing with me. One day one of us will leave the other, willingly or not, and it happens all over. Nothing is forever, but everything is forever, just different. (Pause) I don’t think I should drink this, but maybe you should.
(Brandon pushes the second scotch over to Alex.)

ALEX

(ALEX looks at drink, but doesn't pick it up.)

Spiritually, I get it. Intellectually, I understand what you are saying...and I hope that when I am gone I can reach a sort of immortality through what people remember about me. Emotionally though...I can't make heads or tails of it; nothing makes sense right now. Glen knew,...I knew this day would come. Glen and I talked about it. But, nothing actually prepares you for what it does to you here.
(ALEX places his hand against his chest.)
(A beat.)
You and I have been together, well, serious together for, geez, it's not even been a year yet...do you wonder, is Alex my forever relationship? Do you know, really believe, that this time this is the one that I am going to stick with, no matter what? Have you asked yourself that?

BRANDON

I don’t think like that. Why should I have gone into this without thinking that you are? Doubt? Yes, sometimes I doubt that you really are done with rebounds and I doubt that I’m the one you’ll want six months from now, but I do not doubt I’ll be the one staying. (Takes the drink back and swallows) Immortality, if all I do is live on in the brainwaves of my friends and lovers, forget it. I’m not there. Then, they die and where’s your immortality now? For my money, we’ll be buzzing around the universe together eventually until we decide to come back as our pack. Our tribe, the souls that we are that come and go and come again, preferably at the right times when we’re needed. This isn’t one of our commonalities is it?

ALEX

It's a nice sentiment, but no. I think the immortality that I speak of works like this: my friends will remember me. I alter them and I become a part of each of them. When they pass or die, if you will, their friends remember them and so forth...a part of me...perhaps only the smallest sliver, continues to pass.
(A beat.)
I don't know...it's just a whim. I'm not married to it. But, I just don't buy the fantasies of modern religion. Now, I have to sweat it through Catholic services when I get there, thanks to Glen's mom. It's not what he wanted; it's what she does.

BRANDON

There’s a commonalty for you. I wasn’t talking religion, just energy neither being created nor destroyed. At least he won’t really be there. It’s just those of us who knew and cared for him that will suffer the hypocrisy. They say funerals are for the living, so for a few hours, I guess we’ll both be a little dead inside. I think I’ll subscribe to your philosophy for the duration. It works better for us. We’re going to be there in her face and the fact we’re there is going to alter her. You being there, you’re going to alter her final memories of her son forever and you….we’re going to put the falsehood of her show in her heart. She’ll never be able to deny who Glen was again because of what you’re doing right now.

ALEX

The whole thing is such a charade; Catholic services for a gay atheist. Glen's mom, Ellen, still pretending that he fits an artificial mold. Her denial about our "friendship." All of this falseness...this illusion... I feel sorry for her. I actually knew Glen, the real Glen, the playful-drop-his-pants for a free drink Glen. He would stick up for anybody and fight his friends' battles before he would fight his own.

(A beat.)
Damn it, Brandon. I'm going to miss him....I miss him. There is an absence that I can't even fathom on how to replace.

BRANDON

An absence I can’t replace. It’s okay. I….I know. I have baggage, too. I’ll never be your first true love. I may not even turn out to be your next true love, but I don’t care. I love you and I understand your bond with him. I won’t pretend it’s enough to overcome your feelings, especially knowing what Glen wanted and having to see his life and his beliefs denied. (Pause) We’ve got to get to a ticket counter. I need to stop downing Scotch and get my ass on that damn plane with you. C’mon, walk and talk.
(Brandon starts off heading toward the gates.)

ALEX

(Following Brandon.)
On the plane with me?

BRANDON

That’s right, buddy boy. If we go down, we go down together. I mean with the family, not the plane. Well, unless we’re in the lavatory. That’s the scotch talking. Let’s get my flight changed.

ALEX

Wait, Brandon, I need...I need just a minute. I have to say something. Rightly or wrongly, I have been making a comparison between you and Glen. Not the Glen that will be eulogized over, the Glen with flaws. And by making that comparison, it has made me realize something...it has solidified a weakness about myself. I never really got into detail about why Glen and I broke up. After Glen's health started to slip, he made it very difficult for me to love him. He did things, I think intentionally, to drive a wedge between us. You know how I hate wasting money. He started to leave lights on all over the house, he would leave the heater running with the windows cracked open. He opened credit cards in our names and ran up late fees on purpose. Glen didn't want me to be there when he became too sick to care for himself. At first I thought it was his heroic way of loving me. I thought it was a selfish selflessness...he was ridding himself of those that cared for him most, so that they didn't have the burden of taking care of him when he became an invalid. Of course, I fought against these tactics, at first. But, eventually, I gave in, and I told myself that this was what he wanted. He wants to be the martyr. Who was I to deny him? I let him die the way he wanted. I was able to move on, or so I thought, because I told myself that I was granting his wish....his dying request. But the truth is, ...the truth is, Glen knew that I wouldn't be there. He knew me better that I knew myself. He knew that I would have left him, sick as he was or was going to get, before his death, because I ultimately cared for my well-being more than his. I would have hit the road before it got too much, too...uncomfortable. I told myself that he made me leave because he didn't want me to suffer. But the truth is, he gave me the opportunity to leave before I proved that I could never love him the way that he loved me. Brandon, I'm weak, I'm arrogant, and I'm not sure that I can love through the worst. I'll be honest in telling you that I came to this airport thinking that I may be facing more than one ending: Glen's and ours. Comparisons are unfair. Instead of noticing that there were differences, I should have valued the differences. You are not Glen. We are not Glen and Alex. We are Glen and Brandon. Maybe it's my self-destructive nature, but I had to tell you who I was, who I am...because now I hope that I can be more with you by my side. So, now, you can cancel your ticket and pull out before you run the risks, ...or you can take a possibly turbulent flight with me.

BRANDON

Shit. Guess I’m not the only one with secrets and lies. Could you put me more on the spot? I just invested everything I have inside myself in you. I corrected a mistake and I’m altering course to be with you fully. Now it sounds like I’m talking to Glenn, like he’s taking you over and you’re doing the same damn thing, giving me a way out before the fan turns on. Is that what it is? Did you accept the idea of different flights to avoid me and now I’m with you and you’re starting to freak. Yeah, you’re arrogant and don’t think I don’t see when you put up a front to avoid what you think are weaknesses. I love your arrogance. It’s confident and mostly knowing and built on solid ground. So of course you’re weak when you think the ground is shaky. It underpins your nature. I think I know you a little better than you think. I think I know what I want and who. I think we better switch that flight. I’m not taking the out. Now, you can tell me to get lost, if that’s what you were looking for, but I think we’re stronger as a team and you need me. These are the moments that relationships are built on. If I don’t go, I’m just the guy you fuck. I’m not that guy and you’re not that guy for me. So, buckle up, baby.

ALEX:

(ALEX faces BRANDON; ALEX slowly closes in on BRANDON and sits his shoulder bag/carry on at their feet. He looks at BRANDON squarely in the eye and it appears as if they may kiss. ALEX puts his hand on BRANDON'S arm and then immediately pulls him in for a tight embrace. Not letting go, he speaks...)

If you go with me can I still fuck you?

BRANDON

Only at thirty thousand feet and seven hundred miles an hour.

END OF PLAY

NOTE: Bob and I have just started writing a second play with the same rules as above. We will probably go back and make minor changes to the script above; it appears above without any changes to the original lines sent back and forth.

THIS IS THE SECOND PLAY (with a different co-writer) ...STILL IN PROGRESS:Please excuse the formatting errors due to copy and paste through various programs.

Terminal Relationships

by

Dave Alan Thomas and Tricia Williams

(Scene: An ordinary airport terminal. This is the waiting area for departing transit.)

(MAUDE, a woman in her late forties, is standing holding an obnoxious orange and white flowered carry-on. In contrast, her navy blue suit is well-tailored – obviously some designer make. Her hair and makeup are immaculate designed to make her look her age but in an appropriate and business like way. Besides the carry-on, the only thing that seems out of place is her purple patent shoes. One shoe possesses a large rhinestone buckle whereas the other does not.)

MAUDE:

Do you come here often?

BRYAN:

(BRYAN, a young professional, dressed in stylish, yet travel appropriate business wear, is wearing a phone ear-piece. On his lap, he has been focused on his work on a small laptop. To his side on the floor is a rather large shopping bag from a young girl's store, perhaps "American Girl." He has placed a large coffee on the seat next to where he sits. He looks up, somewhat surprised that he is the recipient of MAUDE's question.)

Sorry? Do you mean to this airport?

MAUDE:

Sorry. Did that sound stupid? I read it in a magazine in the Chicago airport – Ways to start conversations in Airports, bus terminals and post offices.

BRYAN:

No, no. It's quite alright. Curious article, though. It seems rather specific and a bit frightening. I hope the poor writer wasn't paid for originality.


(BRYAN chuckles a bit to himself at his thought. This is a habit that he has developed: sometimes it is at his own statements, whether they are funny or not.)

MAUDE:

Oh, I don't know about that. Is there some place in the magazine where it tells you how much the authors get paid?
(MAUDE is genuine in her inquiry.)

I still have the magazine in her somewhere.

(She starts to search through the large carry on).

BRYAN:

(BRYAN is at first a bit puzzled by her sincerity in her query, but then decides that her quirkiness is somewhat charming. He watches her for a moment. Her intensity in her search allows him to be playful and less-than-business perfect.)

Well, I don't know if they list their salaries in the magazine. That seems a bit unlikely. Can you imagine a world where everything you picked up listed how much everyone was paid that contributed to it? This coffee cup for example: you'd have to list the paper mill workers, assuming this cup is actually still made from something paper-like, the manufacturer, the distributor, the delivery company, the cup designer, if there is such a thing, and the graphic artist for the company logo on the cup for that matter...who else? And that doesn't take into account the coffee.
(BRYAN chuckles and looks at his cup and takes a sip.)
MAUDE:
(MAUDE pauses and looks up from her search)
Well, I guess that would be a bit much to put on the cup, wouldn't it....(slowly a realization dawns on her) Are you...Are you making fun of me?

BRYAN:

Not in the least. I'm most sorry if I was offending you. It's in my genes to be playful, sometimes it is misunderstood, I guess. Please, think nothing of it.

MAUDE:

Jeans? (she thinks about it for a minute and still doesn’t get it) I’m sorry…I don’t…I don’t get out much. I’m sorry, I haven’t ever heard of playful jeans but don’t feel bad, I didn’t know what skinny jeans were until I read this magazine. The one with the airport conversation article in it.

BRYAN:

It seems they packed quite a lot into that one issue. I wish I didn't get out as much as I did. It must be nice to be able to stay home. I take it that you are going on vacation, or returning from one?

MAUDE:
Oh, I’ve never been on vacation. I would have loved to go on a vacation. Maybe like Hawaii but Roger…Roger’s my husband, he didn’t believe in it. Said it was a waste of money for something that only makes you regret your real life. No, I’ve never been out of Illinois. Well, I had never been out Brooksfield all that much actually until I took this trip. Do you know where Brooksfield is?

BRYAN:

Brooksfield? I can't remember going there, but I might have. I've done far too much traveling for my job to recall. I'm sorry you have never gone on vacation. But, I understand your husband's point. I think that there is something to be said for finding happiness at home.
MAUDE:
Oh, I don’t think he was ever very happy at home either. Roger was…well, he wasn’t exactly the easiest person to live with.

BRYAN:

Well, I don't know that I am either. At least Roger was there.
MAUDE:
Oh, Roger was there and there and there. He was always there even when he wasn’t really there. He was there long after he shouldn’t have been there. (MAUDE realizes how it sounds and makes a move to cover her mouth) Gosh, I’m sorry..that sounds awful. I’m not usually so brazen as Roger would say. It’s not really nice to speak ill of the dead.

BRYAN:

Well, then. I guess there's hope for me yet. All I need to do is die and then they'll all say nice things.
(A beat.)
I'm sorry. That was really insensitive of me. I didn't mean to be so self-absorbed.
(A beat.)
Was it recent? If you don't mind me asking? Roger's passing.

MAUDE
Oh. No. Not really. 3 years ago actually but we were married a long time. It took me awhile to get out. Once the kids moved away, Roger always made our kids come visit us. If they wanted to see us that is…which wasn’t all that often. But even after he died, they’d still come. Out of habit, I guess. This year, Millie said “Mom, we’re sick of coming to Brooksfield, if you want to see the grandkids, you’ve got to come here.” So, I did.
(a beat)
And here I am. Finally.
(a beat)
And I think you’re very nice. I mean you are sitting there talking to me and I’m sure I look like a complete fool in this getup.

BRYAN:

No, not at all. You look very nice. Quite distinguish.
(He really examines her.)
Do you know that you are missing a buckle on your shoe?

MAUDE:

Oh, it’s not missing…it’s in my bag. It got caught in the moving walkway over in terminal A. I’ve never been on one of those before. I know they are awfully gawdy but my granddaughter made them for me. I have some fabric glue in my bag but it didn’t want to stick.

BRYAN:

I've heard stories about people getting stuck on the walkway, but I always thought it was a bit of urban legend. Well, at least you weren't hurt. It's nice of you to wear them to go see your granddaughter. It's very thoughtful. It is hard to juggle meaningful gestures when you are on the road like I am...I try to do something when I come home for my daughter to make up for my absences, but you just can't make up for time.

MAUDE:

How old is your daughter?

BRYAN:
Katie's going to be eleven next week. It seems like she was only six last week. She'll be a teenager before you know it. How about your granddaughter?



(to be continued...)

If anyone has taken the time to read these plays in progress, we would love feedback. Please note that they have not been tweaked in any way. As we finish, we may discover that minor changes may be needed. If you would like to start an online play with me, please do not hesitate to ask. Eventually, I would like to put the best of the plays together into an evening of theater. Thank you for your interest and your time.