Lynn Rosen playwright 2006

Lynn Rosen playwright 2006

pswb©2012

APPLE COVE

Characters in this exchange:

Duke, a security guard at Apple Cove - a gated community, formerly swamp

Edie King, a housewife, newlywed, and new resident of Apple Cove

DUKE

Negative. Not new here, born here. My house was down the road. But my home, my escape, was this swamp, where I’d swing on vines tree to tree. My Ma would find me sleeping on a bed of moss, caked in mud, crawling with life. This very spot, your spot, was the thickest, the lushest. But that’s all past. All replaced by this house, this subdivision where I’d be trespassing if it wasn’t, weren’t, if it weren’t for my official capacity. I could run wild here before, I could roar! But now what does a person do when they get that urge to break free?

(Edie kneels and prays.)

DUKE

You pray, you wear a uniform, you suppress.

(He picks her up. Edie is in his arms.)

DUKE

But if the urge returns? If the urge returns, what do you do? Do you break free, Mrs. King? Do you let go?

Kate E. Ryan, the playwright, 2006

Kate E. Ryan, the playwright, 2006
pswb@2012



free adaptation of WOMEN OF TRACHIS

CHORUS
One time I sat down in elementary school and I sat at the hard metal desk with the hard fake-wooden metal top and I wrote out all of my letters, one after the other, a b c d e f g h i j k l m n o p q r s t u v w x y and z. It was at night and nobody else was at school and it was in my dream.

And another time we were making snow animals at school it was an art project and it was so cold but so fun.

I made mine out in the front of the school but off to the side right in front of our classroom window actually and it was a, um…

Kangaroo. With a little pouch and my friend Jessie made a baby kangaroo and stuck it in there when I wasn’t looking.

Alvin Eng, Playwright 2006

Alvin Eng, Playwright 2006
pswb©2012

Mark Schultz, playwright 2006

Mark Schultz, playwright 2006

pswb©2012


EVERYTHING WILL BE DIFFERENT: A BRIEF HISTORY OF HELEN OF TROY

FRANKLIN
I think. Charlotte. You know. I think that. Maybe beauty is the thing that’s always leaving. That’s always being lost. That you always have to say goodbye to. You know. And what’s hard is that, for all the goodbyes, it's never gone for good. It just keeps leaving. And leaving. And leaving. And you just have to keep letting it go. And that’s life.

_______

Courtney Erin playwright 2006

Courtney Erin playwright 2006
pswb©2012

BLACK CAT LOST

SON

Why are they wearing hats?

MOTHER‚

So the evil spirit can't sneak up on them.

SON

Oh and what's that?

MOTHER

That's a dead body. They are lifting it up into that cave.

SON

And what are those?

MOTHER

Those are bones.

Courtney Baron playwright 2006

Courtney Baron playwright 2006

pswb©2012

A VERY COMMON PROCEDURE

Anil: If I stretch out my hand, palm open, like this. (They all unclench their fists, following Anil's lead, they slowly open their hands, fingers outstretched in almost a waving position.) From the tip of my middle finger to the tip of my thumb is how big the trunk of your baby's body was at birth. Her heart, the size, essentially, of the pad of my thumb,

Michael: Small.

Carolyn: Yes, Michael, small.

Eric Lane, playwright 2006

Eric Lane, playwright 2006

pswb©2012

HEART OF THE CITY

Carlos - a young, sexy, gay immigrant from Spain who finds joy in people and life - speaks to the audience. Carlito is his snake.

CARLOS:

I pack my bags and head to New York City. Here I walk down the street, I see so many faces of different color and shape. Religion and idea. And I start to laugh.

All these people run so fast. I run, too. It is only when I stop, I look in his eyes. And this is the heaven Dr. Mendelsohn tells. I see who I am to become – an erotic snake dancer. And you know the best thing…? There is no competition.

(Music begins, underneath.)

I dance on the street corner. Carlito and me. I look out. So many people and their eyes turn away. Afraid to look at the ones standing right next to them. And I think of what it is this city. And I learn. It is not the eyes that turn away. It is the ones that look back.

And so, I will dance for you.

(Music up. Carlos joyfully dances.)