honeyheartshaped

[honeyheartshaped]

CHRISSY (Ties shoes and pull tights. To friend.) Whooo! Eileen, I have been on four job interviews today. Talk about being bushed. Whooo! No matter what kind of job you have, it’s got to be easier work than looking for one. Oh, they fired me at that telemarketing place. No, they gave me no notice at all, just warnings. This may sound like a cop out but some of my job probs are not my fault. I have to lay most of the blame on the people who hire me. I’m just not good at lying to people. Oh, sure, maybe I lie to myself, but that’s where I draw the line. These jobs don’t work because I’d do better at something creative, and I feel I am somewhat creative, but, somehow, I lack the talent to go with it. And being creative without talent is a bit like being a perfectionist and not being able to do anything right. All my life I've wanted to be somebody, but I see now I should have been more specific. Not that I lack ambition. I want to be so much more than I am now. But if I were truly ambitious, I think I’d already be more than I am now. Don’t you? A sobering thought, what if right at this very moment, I am living up to my full potential? This seminar I just went to has opened me up like some kind of bronchial spray. I got clear that my expectations about life are simply way too high. Because we are all being force-fed a lot of false hopes, Eileen, about romance, success, sex, life - you name it.

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MABEL CHILTERN: Well, Tommy has proposed to me again. Tommy really does nothing but propose to me. He proposed to me last night in the music-room, when I was quite unprotected, as there was an elaborate trio going on. I didn't dare to make the smallest repartee, I need hardly tell you. If I had, it would have stopped the music at once. Musical people are so absurdly unreasonable. They always want one to be perfectly dumb at the very moment when one is longing to be absolutely deaf. Then he proposed to me in broad daylight this morning, in front of that dreadful statue of Achilles. Really, the things that go on in front of that work of art are quite appalling. The police should interfere. At luncheon I saw by the glare in his eye that he was going to propose again, and I just managed to check him in time by assuring him that I was a bimetallist. Fortunately I don't know what bimetallism means. And I don't believe anybody else does either. But the observation crushed Tommy for ten minutes. He looked quite shocked. And then Tommy is so annoying in the way he proposes. If he proposed at the top of his voice, I should not mind so much. That might produce some effect on the public. But he does it in a horrid confidential way. When Tommy wants to be romantic he talks to one just like a doctor. I am very fond of Tommy, but his methods of proposing are quite out of date. I wish, Gertrude, you would speak to him, and tell him that once a week is quite often enough to propose to any one, and that it should always be done in a manner that attracts some attention.

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ESTELLE:

You mine! That's good! Well, which of you two would dare to call me his glancing stream, his crystal girl? You know too much about me, you know I'm rotten through and through... Peter, dear, think of me, fix your thoughts on me, and save me. All the time you're thinking, "my glancing stream, my crystal girl." I'm only half here, I'm only half wicked, and half of me is down there with you, clean and bright and crystal-clear as running water... Oh, just look at her face, all scarlet, like a tomato. No, it's absurd, we've laughed at her together, you and I, often and often... What's that tune? - I always loved it. Yes, the St. Louis Blues... All right, dance away, dance away. Garcin, I wish you could see her, you'd die of laughing. Only - she'll never know I see her. Yes, I see you, Olga, with your hair all about, and you do look a dope, my dear. Oh, now you're stepping on his toes. It's a scream! Hurry up! Quicker! Quicker! He's dragging her along, bundling her round and round - it's too ghastly! He always said I was so light, he loved to dance with me. [Estelle is dancing as she speaks.] I tell you, Olga, I can see you! No, she doesn't care, she's dancing right through my gaze. [Stops sharply.] What's that? What's that you said? "Our poor dear Estelle." Oh, don't be such a humbug! You didn't even shed a tear at the funeral... And she has the nerve to talk to him about her poor dear friend Estelle! How dare she discuss me with Peter! Now then, keep time. She never could dance and talk at the same time...

Oh, what's that? No, no. Don't tell him. Please, please, don't tell him. You can keep him, do what you like with him, but please don't tell him about - that. [She gives up.] All right. You can have him now. Isn't it foul, Garcin? She's told him everything, about Roger, my trip to Switzerland, the baby... "Poor Estelle wasn't exactly- " No, I wasn't exactly - True enough. He's looking grave, shaking his head, but he doesn't seem so very much surprised, not what one would expect. Keep him then - I won't haggle with you over his long eyelashes, his pretty face. They're yours for the asking. His glancing stream, his crystal. Well, the crystal's shattered to bits. "Poor Estelle!" Dance, dance, dance. On with it. But do keep time. One, two. One two. How I'd love to go down to earth for just a moment, and dance with him again. [She dances again, for some moments.] The music's growing fainter. They've turned down the lights, as they do for a tango. Why are they playing so softly? Louder, please. I can't hear. It's so far away, so far away... I - I can't hear a sound. [She stops dancing.] All over. It's the end. The earth has left me. [To Garcin.] Don't turn from me - please. Take me in your arms. [Behind Estelle's back, Inez signs to Garcin to move away.]

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Alma: "Summer and Smoke" by Tennessee Williams

Oh, I suppose I am sick, one of those weak and divided people who slip like shadows among you solid strong ones. But sometimes, out of necessity, we shadowy people take on a strength of our own. I have that now. You needn’t try to deceive me … You needn’t try to comfort me. I haven’t come here on any but equal terms. You said, let’s talk truthfully. Well, let’s do. Unsparingly, truthfully, even shamelessly, then! It’s no longer a secret that I love you. It never was. I loved you as long ago as the time I asked you to read the stone angel’s name with your fingers. Yes, I remember the long afternoons of our childhood, when I had to stay indoors to practice my music - and heard your playmates calling you, “Johnny! Johnny!” How it went through me, just to hear your name called! And how I - rushed to the window to watch you jump the porch railing! I stood at a distance, halfway down the block, only to keep in sight of your torn red sweater, racing about the vacant lot you played it. Yes, it had begun that early, this affliction of love, and has never let go of me since, but kept on growing. I’ve lived next door to you all the days of my life, a weak and divided person who stood in adoring awe of you singleness, of your strength. And that is my story! Now I wish you would tell me - why didn’t it happen between us? Why did I fail? Why did you come almost close enough - and no closer?

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The Importance of Being Earnest by Oscar Wilde

Genre: Comedy

Play type: Contemporary

Character: Gwendolen

Gender: Female

Age: 20-30

Plot summary: Jack Worthing comes to London to escape county life under the name of Ernest. While in London, he falls in love with Gwendolyn, much to the chagrin of Lady Bracknell. Algernon Moncrieff, Jack’s friend, learns of his country life and goes to investigate. While in the country, Algernon pretends to be Ernest and falls for Cecily. When all the lovers come together, hijinks ensue.

Scene synopsis: Gwendolen and her mother have been invited over to her cousin, Algernon’s, house for tea and Algernon’s friend, Ernest, is also there. Ernest is in love with Gwendolen and is planning to propose. The two have openly flirted in the past and Gwendolen reciprocates his feelings.

Monologue begins under the cut:

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Eurydice: “Orpheus never liked words...”

Show: Eurydice Playwright: Sarah Ruhl Style: Contemporary Genre: Dramedy Length: 1-2 minutes

Character: Eurydice Gender: Female Age: Teenager/Young Adult

Scene: Second Movement, Scene 16 Setting: The String Room in the Underworld

Context: Eurydice has reconnected with her dead Father in the Underworld. 

Orpheus never liked words. He had his music. He would get a funny look on his face and I would say what are you thinking about and he would always be thinking about music.

If we were in a restaurant, sometimes I would get embarrassed because Orpheus looked sullen and wouldn’t talk to me and I thought people felt sorry for me. I should have realized that women envied me. Their husbands talked too much.

But I wanted to talk to him about my notions. I was working on a new philosophical system. It involved hats.

This is what it is to love an artist: The moon is always rising above your house. The houses of your neighbors look dull and lacking in moonlight. But he is always going away from you. Inside his head there is always something more beautiful.

Orpheus said the mind is a slide ruler. It can fit around anything. Words can mean anything. Show me your body, he said. It only means one thing.

(She looks at her father, embarrassed for revealing too much.)

Or maybe two or three things. But only one thing at a time.