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Ad Altare Dei Act I, Scene One - The Preparation Late
Sixties: Early Saturday morning. The office of Monsignor LaFarve.
Stark Set: A desk, center rear. Doorway down left. Window at rear
behind the desk. In front of the theatre, just below center stage,
a kneeler. More... American Sunset Act I, Scene 1 (Virginia,
1862. A Civil War battlefield near Harrison's Landing. As the Scene
opens a Sergeant and a Captain in the Union Army are crouched, rifle
and pistol drawn and at the ready. It is a moonless night. Smoke
films the stage and in the distance we hear rifle fire and a periodic
burst of a cannon. And then we hear the moaning of a wounded soldier.
The SERGEANT whispers to the CAPTAIN.) More...
Children of the Or Else Act I, Scene 1 As the scene opens our children are moving in a circle simulating a merry go round. Round and round they spin as the organ plays on and on. As they spin they each reach out to grab the golden ring until finally Timmy grabs the ring. The music stops, the dancers (actors) stop. Timmy rides his mock pony forward and speaks. The remaining actors line up as in a chorus line, remain on their ponies and Timmy speaks. More...
Citizen Mendez Act One, Scene 1 If possible a three level platform, otherwise three separate stage areas. The first platform depicts a ranch field in Southern California, just north of the Mexican border. Our second level is a living room of a ranch house and our upper level is the top of a mountain. As our play opens the theatre goes to black then two beams of light scan the audience. The intent is to momentarily have the audience experience what it would be like to be the prey. In the dark we can hear the voices of two men. More...
Synopsis: You pursue a dream. To the north you envision opportunity. Between you and your utopia; the mountains. You and your wife throw caution aside in your quest to seek your Destino. But things go awry. The weather becomes your tormentor. The ‘coyote’ (smuggler) you hire to lead you across las montañas turns upon you. He beats you and takes what little money you and your wife have saved. You should have never brought her, your wife, to this country. She is pregnant and the baby pushes its way into life before its time, and there you are, cold upon the mountain. You and she can gaze across the valley. You can see the house with the beautiful light. Some day, you say to her, we shall have such a home. We will be as happy as the people in the hacienda where the light glows as if a beacon of freedom. Your son or your daughter will be born in Estados Unidos. The baby will never be beaten by ‘coyotes’. It will never hide in the manzanitas from the American Border Patrol Agents. Someday you will bring your child back to your village. After Sunday Mass, you will go to the plaza and say to your friends and relatives, “This is our child who was born in the Norte...meet our son Jesus. And sí, sí, we have found our DESTINO!” Destino in its entirety... Flying Brothers, Solo Sister Act I, Scene One Combination living room/office of AMANDA KAYE. Along rear wall a window looking out upon an elm laden street. Perhaps a university building deep with a forced prospective. A door left leads to the kitchen, door right to the outside. A couch, a dining table, and a cluttered desk on various parts of the stage. Bookshelves all about; a television somewhat hidden amongst the books. As the scene opens we hear the sound of young children’s voices, sing-song, repetitive, monotonic and in unison. CHILDREN’S VOICES More... I'll Turn and Wave Act 1, Scene 1 Early evening of a gray late October day in the late 1950’s. An upper West side apartment in New York located across the street from Columbia University’s athletic facilities, Baker Field. The interior is musty and like the inhabitant, MR. GAFNEY, aged. More...
Giulianied Act 1, Scene 1 (Druid tavern. New York City. Two brothers Terry and Joey at the bar. Seamus the bartender is washing glasses. Natasha, a former hooker from Moscow sits at a table - a pile of books stacked in front of her.) More...
Goldfish ACT I, Scene 1 (An
apartment in New York City. The living room area of a sparsely furnished
apartment. As the scene opens we see an older woman, MRS. DAY, standing
center behind an ironing board. We hear the sound of the iron hissing,
then the thud, thud, thud sound as Mrs. Day bangs the iron on the
garment she is pressing.) More...
Grossman's Urn (A
men's lounge of a private golf course. Along rear wall, a fireplace
with an oak mantle piece. Above the fireplace, perhaps a picture
of this golf course in the year of the course's origin. On either
side of the fireplace are trophy cases. Along the left wall, a bar
with a television mounted over it. Further down left, an exit to
the main entrance of the club. Various tables about the center of
the room. Along the right, perhaps popcorn machine, a coffee machine,
various bar room snacks; pretzels, mixed nuts, etc. As the scene
opens Billy stands at the bar looking up at the television. Sam,
Doc, Joe, and Bobby are seated at one of the tables playing gin.
An announcer for ESPN is reading off the current day's college football
final scores. Lupé the bartender stands behind the bar.) More...
La Table ACT
I, Scene One (A
bare room in the Hotel Majestic, Paris, France. The year is 1968.
down left, a café style table, checkered tablecloth, candle,
bottle of wine, two glasses. As the scene opens a Gendarme enters
the room. He professionally inspects the walls, the floors, and
the ceiling, and assures himself all is well. He then turns toward
the open doorway.) More...
La Table ( En Francais) ACTE
I, Scène Un (Une
salle vide de l’Hôtel Majestic, à Paris, France.
Nous sommes en 1968. Devant, à gauche, une table genre table
de bistrot. Une nappe à carreaux: une bougie, une bouteille
de vin, deux verres. Alors que s’ouvre la scène, gendarme
entre dans la pièce. En professionnel, il inspecte les murs,
le sol, le plafond et s’assure que tout est en ordre. Il se
tourne alors vers l’entrée. ) More...
Saint Cloud (Nighttime.
The outside of an apartment building on Seaman Avenue in New York
City. A fire escape overlooks the street. A woman in her mid-thirties
has climbed onto the fire escape and stands in a precarious position
as John Ernest enters walking down the street, his topcoat collar
up, a newspaper under his arm. He stops below the fire escape and
lights a cigarette. And then…) More...
The King's English CAST:
Ernest Storms, an American tourist As
the scene opens Ernest and Verna enter the subway platform. They
look about and seem somewhat confused. A Bobby stands at the opposite
end of the platform in the shadows, periodically casting a glance
towards the couple. More...
The Thing (Soft eerie music plays as lights arise upon a woman, down right. The woman sits in a pile of sand. She is completely covered from head to toe in robes; her face is veiled and barely can we make out her dark, fierce eyes. Two women enter from left crawling toward our veiled lady. As the two crawling ladies draw closer, the veiled lady, ACRUM turns her face away. SIDNEY who has been crawling in the lead turns toward her friend, TARINA and speaks.) More...
The Whisperer Act I, Scene 1 (As the lights come up we see downstage left and downstage right, a podium. Toward center left, a simple desk and chair. Right Center, a prison cot as you would find on Devil's Island. Sitting behind the desk, the elder Dreyfus. He starts to write; looks up wearily; tries to write again, then stops. The action of the play takes place between the years 1894-1899. The locations are Devil's Island and Paris.) More...
With a Faery, Hand in Hand Act I, Scene One St. Stephens Green, Dublin, Ireland. Evening, February 21, 1903. A street lamp left. A park bench right. Four pedestals rear - unseen until indicated. Enter Constables Moore and Martyn. They stand under the street lamp. Constable Moore lights his pipe. More...
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Destino