CHILDREN OF THE SEA

CHILDREN OF THE SEA by Glenn Sevilla Mas

Second Prize, English One-Act Play

2005 Don Carlos Palanca Memorial Awards for Literature


“We are meager fishermen,
Men from the shore
Who are hungry and cold
And you’re our foe.

Don’t beat so hard,
Don’t shout so loud,

Open your green coffers,
Place gifts of silver in our hands.
Give us this day our daily fish.”

-Pablo Neruda, “Ode to the Sea”

Characters

Manding Soling – an old woman
Osmar – her son, 35
Estrella – Osmar’s wife, 33
Corazon – Osmar and Estrella’s daughter, 14
The men and women of Caluya

USED WITH THE AUTHOR’S PERMISSION FOR THE CCP DIRECTING WORKSHOP, 0513 2006

FOR OTHER USES, CONTACT THE AUTHOR AT glennsevillamas@yahoo.com

Setting

The stage’s walls are made of katsa (sack or muslin cloth). To the right is Manding Soling’s bedroom. Here, an old bamboo bed occupies most of the space. Near it is an old table with a lighted candle. To the left is a small kitchen with its requisite table and chairs. In one corner is a bamboo cupboard. Near it is the sink with an earthen jar filled with potable water. On the other side of the kitchen is an old cabinet filled with old clothes. Suspended above the stage is a huge fishing net that is dangerously threatening to collapse.

Time and Place

A stormy month in the province of Antique, Philippines. The island municipality of Caluya. The farthest from the capital town of San Jose de Buenavista, Caluya and its nine other islands can only be reached by motorized pump or ferry boat. In Kinaray-a, a native language of Antique, the word “kaluya” literally means lonely.

The Play

The sound of angry waves is heard. Soon, thunder roars and the wind howls. At the foreground of the stage, Estrella and Corazon are worriedly looking out to the sea. Light comes from the kerosene lamp that Estrella carries.

ESTRELLA Do you see anything, Corazon?

CORAZON Ano abi ay your tatay insisted gid to go to Sibay (another island in Caluya) and look for your Tiyo Bendo there. But this weather…

The two women stare helplessly at the angry sea.

ESTRELLA O, ta. (Let’s go.) It is late run (already), Corazon. Your lola must be worried already.

CORAZON You go ahead rulang, ‘Nay. I will wait for tatay here.

ESTRELLA Corazon.

Corazon once again looks out to the sea.

ESTRELLA Corazon! Linti nga…

Corazon reluctantly follows her to offstage.

In a while, a dim light reveals Manding Soling sleeping on the bed. The waves become even angrier and she is disturbed. The bed creaks as she tosses and turns in her sleep. The flickering images of a grim shadow play are then projected on the katsa walls: a boat being tossed at sea … a man desperately trying to save his boat and his life … the waves becoming even angrier as the man slowly loses control of the boat … the boat suddenly getting hit by a big wave … the man bravely facing death as he frantically prays the “Maghimaya ikaw, Mariya.”

MAN Maghimaya ikaw, Mariya …

buta ikaw ti grasya …

ipangamuyo mo kami

kadya kag sa tion kang amun kamatayun …

(Hail Mary …

full of grace …

pray for us …

now and the the hour of our death …)

Another wave, bigger and more fatal, hits the boat. The man screams. The flickering images disappear as another dim light reveals the rest of the stage. Estrella and Corazon enter the kitchen.

Estrella places the lamp on the dining table, Corazon sits in one of the chairs.

MANDING SOLING Bendor!

(Puls herself up and clutches her rosary.)

ESTRELLA ‘Nay?

She hurriedly enters Manding Soling’s room.

ESTRELLA You dreamed of Bendor again.

She gently massages the old woman’s back.

ESTRELLA Corazon? Corazon! Abi bring a glass of water anay here for your lola.

CORAZON Dali lang (in a while), ‘Nay!

She gets a glass of water from the cupboard and fills it with drinking water.

ESTRELLA The Lord has mercy, ‘Nay. He will surely take pity on Bendor.

MANDING SOLING Is Osmar home already, Estrella?

ESTRELLA Not yet gani, ‘Nay. We wanted to wait for him longer daad but it was getting late already. I’m worried man (also) gani.

MANDING SOLING I hope he arrives with some news about Bendor soon.

Corazon enters the room and hands over the glass to Manding Soling. The old woman drinks from it slowly.

CORAZON ‘Nay, I’d like to go back to the shore daad and wait for tatay there.

ESTRELLA Abi stop adding to our problems man anay, Corazon. You know how worried your lola and I are tapos here you are asking permission to go back to the shore, alone? Abi be considerate man! Linti nga …

CORAZON But, ‘Nay. I just want to be there daad so when tatay arrives …

ESTRELLA (Overlapping. Stands up.) What? What will you do gid haw man when your tatay arrives, ha, Corazon? You know very well that he will get angry lang with us if he sees you waiting for him there alone! Indi bala? (Right?) Abi use your head man once in a while, Corazon, ay! And stop this foolishness at once abi! Bwisit nga … Abi go to the kitchen rulang gani and make yourself useful there.

Manding Soling hands over the glass to Corazon who then goes to the kitchen and sits in one of the chairs, sulking.

MANDING SOLING Don’t you think you’re a little too harsh on Corazon, ha, Estrella? She is a big girl now. Soon, I am sure nga she will assert herself more.

ESTRELLA Assert herself more? In other places siguro, ‘Nay, that is possible. But here? In Caluya? We can’t even assert ourselves gani in this house mong. No one listens to us here! Indi bala, ‘Nay? Except ourselves man e.

A moment of silence.

ESTRELLA And that child is becoming stubborn as she grows older, ‘Nay. Indi bala? She had better do something about it if she wants a good man to marry her. Otherwise, who will look after her and take care of her bay? We can’t always be there for her!

Another gust of wind is heard. Estrella sighs. In the kitchen, Corazon gets up and hurriedly leaves for the shore. Estrella sits beside Manding Soling.

ESTRELLA ‘Nong Kardo sacrificed a chicken gali this afternoon, ‘Nay. He said he did it to appease the spirits of the sea. (A beat.) I guess they’re asleep. It’s taking a long time for the sacrifice to work.

MANDING SOLING Estrella! He is a good man, your Manong Kardo. He also lost two sons to the sea many years ago so he understands what we are going through now.

A moment of silence.

ESTRELLA I’m sorry, ‘Nay. I’m sorry gid but … I do not know what to do run abi. I have a favor to ask of you gani daad.

MANDING SOLING What favor, Estrella?

ESTRELLA Please talk to Osmar abi later, ‘Nay. He won’t listen gid to me abi. He insists in leaving for Mindoro (another island, no longer a part of Caluya) the moment he arrives from Sibay. It is important that he go there kuno to get ice for the island. I keep telling him gani to wait daad until the weather gets better but he won’t listen to me gid. ‘Nong Nestor kuno promised to pay him extra pesos if he leaves tomorrow with Berto. Sibay, at least, is not that far. But Mindoro?

A moment of silence.

MANDING SOLING I don’t know, Estrella, but … all right. For your sake, I will try. But you know how he is.

ESTRELLA For my sake? For my sake lang, ‘Nay? What about you tana bay, ‘Nay? Do’t you want your son haw to stay here anay until the weather gets better? ‘Nay.

MANDING SOLING You know very well he doesn’t listen to me man, Estrella. And I have accepted that many years ago run. When he was younger, yes, he listened to me. But the day he became taller than me, he started doing things on his own run. Like his tatay. And his other brothers.

ESTRELLA But, ‘Nay …

MANDING SOLING Through the years, I have learned to accept many things run, Estrella. Even if I can’t understand them man. And one of them is to keep my opinions to myself. I also didn’t believe my nanay when she told me that many, many years ago. But she’s right, indi bala? That’s just how things are here. I keep hoping gani that things will be a little different when it’s Corazon’s turn run to get married. But with the way things are …

She smiles sadly.

MANDING SOLING After I talk to him and he still decides to leave, ti kundi we cannot do anything run but pray for his safety rulang.

She takes Estrella’s hand.

MANDING SOLING But the Lord has mercy and he will take pity on us. Osmar will be home soon.

Another gust of wind is heard.

ESTRELLA I don’t know, ‘Nay. I no longer know what to believe. I’ll go back to the shore rulang anay siguro. I will wait for him there. I’m worried run gid abi.

Manding Soling doesn’t answer.

ESTRELLA Sige, ‘Nay. Corazon? Corazon! (Gets up and goes to the kitchen.) Abi go with me to the shore anay. We will wait for your tatay there! Corazon! Ay sus …(Returns immediately.) Your granddaughter, ‘Nay. She went ahead run gali. I pity gid the man who will choose her for his wife. We’ll be back as soon as Osmar arrives.

She goes to the kitchen and gets the kerosene lamp. She leaves. Manding Soling stares after her. In a while, she prays.

MANDING SOLING Maghimaya ikaw, Mariya


magkalipay ikaw

buta ikaw ti grasya

ang Ginuong D’yos rugyan kanimo.

Nahamut-an ikaw labaw sa tanan ng mga babayi

kag nahamut-an man ang bunga

kang imo busong nga si Hisus …

(Hail Mary

full of grace

the Lord is with you.

Blessed are you among women

and blessed is the fruit

of your womb Jesus …)

Lights out.

Estrella soon reaches the foreground area of the stage. There, she sees Corazon sitting on the shore and looking out to the sea. The sound of angry waves is still heard.

ESTRELLA Sus, Corazon, you shouldn’t have gone ahead. You should have waited for me daad.

Corazon doesn’t answer. Estrella sits near her.

ESTRELLA Ay, your tatay, Corazon. I hope he is safe out there.

And the two women stare silently at the sea, waiting. In a while, the sound of an approaching motorized pump boat is heard. The two get up.

ESTRELLA Ginuo ko. (My God.) That’s your tatay’s boat, indi bala? That’s his boat, indi bala, Corazon?

Corazon rushes forward and tries to see more clearly.

CORAZON I think it is his boat gid man, ‘Nay. ‘Tay! (Looks at Estrella.) it’s tatay’s boat gid man, ‘Nay!

ESTRELLA Diyos ko, salamat. Osmar!

The women anxiously wait for the boat to reach the shore. In a while, a wet and every tired Osmar enters. He has with him a weather-beaten knapsack. Estrella rushes to meet him.

ESTRELLA Sus, Osmar! Thank God you are safe. We’ve been very worried gid about you. Ti (So) did you find out anything about Bendor? Has anyone seen him, or heard anything about him, in Sibay, ha, Osmar? Nanay had another one of her bad dreams abi. She dreamed about Bendor again and she dreamed that …

CORAZON (Overlapping.) is that Tiyo Bendor’s bag, ‘Tay?

Estrella notices the knapsack.

ESTRELLA Ginuo ko. That’s Bendor’s bag, isn’t it, Osmar? Where did you …

OSMAR Someone found it floating near the shore of Sibay yesterday. He gave it to me when I said it looked like Bendor’s.

ESTRELLA You mean you haven’t … Ti shall we open it now, Osmar? Because if that’s really Bendor’s …

OSMAR (Overlapping.) I’m tired, Estrella. Let’s talk about this some other time. (hands over the knapsack to Estrella.) You keep this anay.

Estrella silently accepts the knapsack.

OSMAR Don’t show it anay to nanay until we are sure what really happened to Bendor.

ESTRELLA But, Osmar, if this bag is really Bendor’s …

OSMAR (Overlapping.) Estrella.

ESTRELLA I mean, don’t you want to open this now, Osmar? Indi bala nga … I’m sorry but indi bala nga we’ve been waiting for something like this to turn up? And now that we have this, don’t you think it’s a good idead for us … even just us lang anay, Osmar … to look at this now?

Osmar doesn’t acknowledge Estrella’s suggestion.

OSMAR How is your lola gali, Corazon?

Estrella sighs.

CORAZON She’s okay lang man siguro, ‘Tay.

ESTRELLA She’s still trying to be brave about all this man. She’s been waiting for something like this gani to …

OSMAR (Overlapping.) Have you had supper run, Corazon?

CORAZON Not yet, ‘Tay. But it’s ready run. Nanay said we should eat together mong.

OSMAR Ta. I’m hungry run gid man.

ESTRELLA Osmar!

OSMAR Let’s go home run, Estrella. I’m sure you’re hungry, too. We’ve all had a long day.

Estrella just stares at Osmar.

OSMAR Estrella.

And they slowly head for home.

A dim light again reveals the house. Still clutching her rosary, Manding Soling is now sitting on the edge of her bed anxiously waiting for Osmar’s arrival. The sound of angry waves is still heard. Soon, Osmar, Estrella and Corazon enter the kitchen.

OSMAR ‘Nay?

MANDING SOLING Osmar? Osmar, is that you run? (Stands up and rushes to meet Osmar who hurriedly enters her room.)

In the kitchen, Estrella places the lamp on the dining table. She goes to the cabinet and momentarily stares at the knapsack. Corazon sits and watches her silently. Soon, Estrella hides it inside the cabinet. At the same time …

OSMAR ‘Bisa ko (Bless me), ‘Nay. (Kisses the right hand of Manding Soling.)

MANDING SOLING Bless you, my son. (Embraces Osmar.) Thank God you are safe, Osmar! Ano abi ay I had this bad dream kaina (a while ago). I really thought … But you are safe. And that’s what’s important. Ti have you any news about Bendor? Has anyone seen him, or heard anything about him, in Sibay? Ha, Osmar?

OSMAR No, ‘Nay. But I’ll continue looking for him when I return from Mindoro.

Estrella enters Manding Soling’s room.

OSMAR I won’t stay there long man, ‘Nay. Berto and I will just load the blocks of ice from Manlor Ice Plant and then we’ll immediately go back here. (Sits on Manding Soling’s bed.) Corazon? Corazon!

CORAZON ‘Tay?

OSMAR Abi bring a clean shirt for me anay here. The one I have on is very dirty run gid.

CORAZON Dali lang, ‘Tay!

She gets up and goes to the cabinet. She searches for a clean shirt but her attention is clearly on the knapsack. Outside, a gust of wind can be heard. Corazon gets the bag and carefully opens it. At the same time …

OSMAR Don’t worry, ‘Nay. Bendor cannot just disappear man, indi bala? He is bound to turn up somewhere soon. And for all we know, Bendor just might be in another island, worried man about us. We never know, indi bala?

ESTRELLA Or he could be floating lifeless somewhere out in the sea. We also never know, Osmar, indi bala?

OSMAR Estrella!

ESTRELLA Your brother has been gone nine days run, Osmar. Nine days! And we haven’t heard anything about him … not a single thing we could pin our hopes on! Tapos you tell us to still hope and not worry?

OSMAR Ti what do you want me to say bay, Estrella? Ha?

A moment of silence.

ESTRELLA I cannot go through another nine days of hoping and not knowing anything, Osmar.

In the kitchen, Corazon carefully closes the knapsack and returns it to its hiding place. She gets a clean shirt and closes the cabinet. At the same time …

ESTRELLA You will not leave for Mindoro. At least, not now, Osmar.

OSMAR Estrella! We talked about this run, indi bala? Didn’t we talk about this run yesterday? Ha? And you agreed that I’ll leave for Mindoro the moment I arrive from Sibay!

ESTRELLA What are you saying I agreed, Osmar! I didn’t! You just assumed that I did but I didn’t!

OSMAR But our talk ended with you not saying anything about it anymore! It ended with me saying that I’ll leave for Mindoro today, indi bala?

ESTRELLA Osmar, my not saying anything anymore didn’t mean I agreed!

OSMAR (Exasperated.) Sus! (Turns to Manding Soling.) ‘Nay, abi talk to her anay and put some sense into her head, abi.

ESTRELLA It is you who should put some sense into your head, Osmar! Abi listen to reason man ay! How can you possibly go back to the sea when the weather has not improved at all? Listen to it bala! And look at yourself man abi, Osmar! Have you seen yourself lately? Ha? You look like death itself! Rest, Osmar! Rest anay abit. Even for just a night lang. Just one night lang, Osmar. Rest!

Corazon slowly enters the room.

CORAZON ‘Tay. (Hands over the shirt to Osmar.)

Osmar accepts the shirt but doesn’t put it on.

MANDING SOLING Corazon and I had better prepare supper anay siguro. You must be hungry run, Osmar.

Manding Soling does not look at Estrella.

ESTRELLA ‘Nay!

MANDING SOLING Ta, Corazon.

Manding Soling and Corazon go to the kitchen. Estrella stares after them. Soon, Manding Soling and Corazon prepare the dining table.

ESTRELLA I am sorry but I cannot let you tempt death again, Osmar.

OSMAR But, Estrella …

ESTRELLA (Overlapping.) You just don’t know lang but each time you leave this house to look for Bendor … each time I watched you leave this house to look for your brother, Osmar … I always felt like I was seeing you for the last time! And I am afraid that you will end up just like your tatay! And your brothers! But I kept quiet lang, Osmar. Because even if it was difficult to do, I still somehow understood. But to get ice for the island?

OSMAR I already gave my word to ‘Nong Nestro, Estrella. He is counting on me to be on that boat to Mindoro.

ESTRELLA Listen man abi to me, Osmar, ay! ‘Nay!

Manding Soling hears Estrella but makes no move to return to the room.

OSMAR Estrella, I begged ‘Nong Nestor for this job! And if I don’t take that boat ride to Mindoro, he will give the job to someone else. And you know very well there are many in this island who will gladly take my place, indi bala! Ti if that happens, where am I going to get money bay so you will have something to eat? Ha, Estrella? You know of any other way haw of earning money? Abi tell me. Tell me, Estrella, and I will gladly not leave for Mindoro now! You know why? Because you are right! I am tired! I am very tired run, Estrella!

ESTRELLA But we can do without money for a few days more, Osmar. And even if we eat tangkong (water spinach) and ginamos (fermented anchovies) and pinakas (dried fish) everyday, no one is complaining man, Osmar, indi bala? And we will all go on eating tangkong and ginamos and pinakas for as long as they are the only things you can afford! You will never hear us complain, Osmar. Just please stay. Please.

A moment of silence.

OSMAR Let’s talk about this some other time, Estrella. I am tired. And I still have a job to do. For now, I need you to understand me lang anay. Please.

Estrella doesn’t answer.

OSMAR This is my job, Estrella. This is my only job. And right now, I am the only man left in this family, indi bala? If I lose this job, our already miserable life will become even more miserable. I can’t allow that to happen. That’s why I have to leave.

Estrella still doesn’t answer.

ESTRELLA Your supper is waiting for you.

And she hurriedly goes out. She goes to the table and puts food on her plate. She looks at Corazon.

ESTRELLA O, Corazon? What are you waiting for pa?

Corazon slowly goes to the table. She also puts food on her plate. Soon, the two of them eat quietly. Manding Soling just looks at them. In a while, she slowly goes to her room.

MANDING SOLING Are you not going to eat, Osmar?

Osmar doesn’t answer.

MANDING SOLING I don’t want to interfere daad, but … Estrella has a pint, indi bala, Osmar?

Osmar still doesn’t answer. He changes his shirt.

MANDING SOLING Do you really have to go, Osmar?

OSMAR (Mlldly irritated.) ‘Nay.

MANDING SOLING Your tatay abi didn’t listen to me man when I begged him to stay the night we saw him last. Remember? I told him to wait daad, even for just another day. He just said, “But don’t you always tell me that, Soledad? And don’t I always go back to the island man, tired but safe?” Hay, Osmar. Abi mo (You know what), I didn’t sleep that night. I stayed awake listening lang to the angry waves. I kept imagining your tatay … out there in the sea, helplessly facing its fury alone.

OSMAR But the sea has also been kind man to us, indi bala, ‘Nay? It has always provided us with food. And money.

Manding Soling sits near Osmar.

MANDING SOLING But it also claimed man the life of your tatay and your three brothers.

OSMAR (Softly.) ‘Nay.

MANDING SOLING I have stopped hoping run, Osmar. I just want your brother’s body to be found so we could give him a proper burial. And Estrella’s right. What good is a few pesos more if the price is the life of my only surviving son?

OSMAR I will be very careful, ‘Nay. I will be very careful gid.

BERTO (From outside.) Osmar? Osmar!

OSMAR Berto? Is that you run?

Estrella and Corazon stop eating.

BERTO (From outside.) Yes, Osmar! We might have to leave for Mindoro siguro run bay! The sea is not as angry as it was kaina mong so we might as well take advantage of it. What do you think haw?

Osmar looks at Manding Soling.

BERTO (From outside.) Osmar?

OSMAR You go ahead lang anay to the boat, Berto! I’ll join you in a while!

BERTO (From outside.) Sige a! I’ll just wait for you there rulang, Osmar! I’ll prepare the boat run!

OSMAR Sige, Berto! Corazon? Corazon!

CORAZON ‘Tay?

OSMAR Abi get me another shirt anay to bring to Mindoro!

CORAZON Yes, ‘Tay! Dali lang gid!

She gets up and goes to the cabinet. She opens it and gets another shirt. Estrella stares at the cabinet quietly. Corazon closes it and goes to Manding Soling’s room.

CORAZON ‘Tay. (Hands over the shirt to Osmar.)

OSMAR (Accepts it.) Thank you, Corazon. And if I have time, I’ll buy you a new dress in Mindoro, ha?

CORAZON Sige, ‘Tay. Thank you man.

Osmar gets up.

OSMAR ‘Nay.

Manding Soling embraces Osmar.

MANDING SOLING I really pray you are making the right decision, Osmar. Ti take care gid. I will be praying rulang for your safety.

OSMAR Sige, ‘Nay. You take care lang anay of things here. I’ll go back immediately man a.

MANDING SOLING Don’t worry about us, Osmar. We’ll be just fine.

Osmar goes to the kitchen. Manding Soling and Corazon slowly follow him there.

OSMAR Estrella.

Estrella doesn’t answer. She resumes eating.

OSMAR Estrella, please.

A moment of silence.

OSMAR I’m leaving anay, Estrella.

ESTRELLA Of course. You’ve made that clear kaina pa, indi bala? So sige. No one can stop you man ayhan.

OSMAR I’ll be back immediately, Estrella. We’ll talk then.

ESTRELLA Why bother, Osmar? After all, in this house, only your opinion matters, indi bala? Let’s not waste our time.

A gust of wind is heard.

ESTRELLA You might be late run, Osmar. Berto might become impatient and leave you behind.

Osmar angrily leaves. Estrella just goes on eating. Manding Soling sits facing her. Estrella gets up and brings her plate to the sink. She washes it.

MANDING SOLING Estrella. It might not be a good idea to let your husband leave like that. If something happens to him …

ESTRELLA (Overlapping.) If he stayed here tonight, ‘Nay, nothing will surely happen to him.

A moment of silence.

ESTRELLA I thought you were going to talk to him, ‘Nay.

MANDING SOLING But I did, Estrella! Or at least, I tried!

ESTRELLA No, ‘Nay, you didn’t. You listened to him and agreed to everything he said! If you insisted that he stay here daad, he might have listened to you pa and we wouldn’t be worrying about him now! He’s your only son left, ‘Nay.

MANDING SOLING That’s why God will take care of him, Estrella.

ESTRELLA ‘Nay! You lost your husband and sons to the sea run and you still believe that God will take care of the only one left?

MANDING SOLING Estrella!

ESTRELLA There is no God out there in the sea, ‘Nay! I know because I’ve been there several times run. Out there, there’s just you and the endless water. And once the sea gets angry, ‘Nay, there is nothing you can do but hope that it will at least be a quick end! I lost my only brother to the sea years ago man, ‘Nay! He was a fisherman who insisted he knows everything about it. So he left even if we begged him not to. And he didn’t return, ‘Nay!. I even went with Tatay to look for him gani mong. We searched for him for days! And you know what, ‘Nay? We never found him! And you tell me God will look out for Osmar because he’s the only one left?

Gusts of wind are again heard. Soon, thunder roars.

MANDING SOLING Ginuo ko! It might not be too late pa man siguro, Estrella, indi bala? Nestor’s boat might not have left pa man siguro, indi bala?

ESTRELLA But you have to hurry siguro, ‘Nay, if you want to prevent Osmar from leaving. Berto was in a hurry nga daan to leave kaina, indi bala?

MANDING SOLING Don’t you want to go with me to the shore haw, Estrella?

ESTRELLA But he’s angry with me, ‘Nay. You saw how we parted ways kaina. And my being there might force him pa gani to leave even more, indi bala? Corazon.

CORAZON ‘Nay?

ESTRELLA Abi go with your lola anay to the shore. Hopefully, your tatay hasn’t left pa man for Mindoro.

CORAZON Yes, ‘Nay.

ESTRELLA And bring that lamp dayon so he will immediately see you approaching.

CORAZON Yes, ‘Nay. (Gets the kerosene lamp.)

MANDING SOLING Sige, Estrella. Pray that we will reach Osmar in time.

ESTRELLA I will, ‘Nay. Now, hurry!

MANDING SOLING Ta, Corazon.

And the two women hurriedly leave. Estrella watches them for a moment. In a while, she goes to the cabinet and takes out the knapsack. Lightning strikes and another thunder is heard. Soon, there is rain. Estrella goes to the table and hurriedly opens the bag. She takes out its contents: a bonnet and a dried out, plastic-covered prayer book. She inspects the shirt and the bonnet but doesn’t see any identifying mark on them. She picks up the prayer book and looks at its cover. She sees Bendor’s name on it.

ESTRELLA Bendor!

Lightning strikes again. From afar, a woman wails.

ESTRELLA ‘Nay?

MANDING SOLING (From outside). Estrella! Ay, Ginuo ko, Estrella!

ESTRELLA ‘Nay!

Estrella is about to rush out when Manding Soling and Corazon, both soaked, hurriedly enter the house.

ESTRELLA ‘Nay! What’s wrong, ‘Nay? Was that you who screamed?

MANDING SOLING Estrella …

She wails again.

ESTRELLA ‘Nay?

Her tears start to fall as she realizes why the old woman is inconsolable.

MANDING SOLING Ay, he is gone run, Estrella! My last sone is gone run! And I saw it happen gid. Ay, Ginuo ko, but I saw it happen gid, Estrella! Lightning struck so I clearly saw it!

ESTRELLA Saw what, ‘Nay?

And the grim images of the shadow play are again projected on the katsa walls. The angry waves are again heard.

MANDING SOLING His death, Estrella! Osmar’s death! Ay, his boat was way out in the sea run when a big wave, bigger that the ones that were tossing it around, suddenly hit it. And it was so big it turned the boat over, Estrella! Ay, Ginuo ko, but it turned the boat over gid! And I saw Osmar trying desperately to stay up in the water. He is a good swimmer, indi bala, Estrella? He is a very good swimmer and so is Berto who is a very good swimmer, too. But another wave hit them! And it was just as big as the one before it! And then I couldn’t see them anymore. And then I couldn’t see them anymore, Estrella! And he is the only one left! He is my only son left! (Wails.)

The shadow play ends.

ESTRELLA But … it was dark, wasn’t it, ‘Nay? Maybe you didn’t … Maybe your eyes were just …

MANDING SOLING But I saw it gid, Estrella! Ay, I saw it gid abi.

ESTRELLA But, ‘Nay … ‘Nay!

Her knees fail her and she falls to the ground. Corazon rushes toward her.

CORAZON ‘Nay!

ESTRELLA Your tatay, Corazon. Your tatay left us run kuno, Corazon.

CORAZON Yes, ‘Nay. I saw it. I saw it man, ‘Nay!

Estrella cries. Corazon comforts her.

ESTRELLA Ano abi ay he won’t listen gid to me! He won’t listen gid to me abi mong! Ay, Osmar. (Gets up.) Corazon. Let us go to the shore ow. I need to be with your tatay. I need to see your tatay now. Osmar! ‘Nay?

MANDING SOLING I cannot bear to look at the sea right now, Estrella? Let’s just wait for him rulang here. I am sure the men of the island will soon bring him here.

Estrella wails. Manding Soling notices the knapsack on the table and rushes toward it. She takes Bendor’s things in her hand.

MANDING SOLING These are Bendor’s things! These are Bendor’s things, indi bala, Estrella? These are his, I am sure gid!

ESTRELLA Osmar said someone found the bag floating near the shore of Sibay yesterday, ‘Nay. He brought that with him kaina but he told me not to show it to you anay. At least, until he learns what really happened gid to Bendor, he said. He wanted to spare you daad from more pain, ‘Nay. Ay, who knew he would suffer the same fate, indi bala, ‘Nay? And cause us even more pain! Ay, Ginuo ko, Osmar!

MANDING SOLING This bag, Estrella. Bendor bought this in Libertad (another town of Antique, located in the mainland) two years ago, indi bala? For the fiesta! He attended with Osmar and Berto, remember? And this shirt … and this cap have been with him for years run. I washed these myself pa gani two weeks ago. And his prayer book! Ay, I gave him this prayer book for his birthday last year, Estrella. He was so happy when I gave this to him. He was so happy he told me he’ll bring this with him everywhere he goes so he’ll always be safe. So he’ll always be safe, that what he said, Estrella!

A moment of silence.

ESTRELLA What will happen to us run bay, ‘Nay! There are three of us left rulang. And all women! Ay, what are we going to do, ‘Nay?

MANDING SOLING We’ll take care of ourselves e, Estrella. You, me and Corazon. We’ll take care of each other e. In the meantime, we have things to attend to anay. (Arranges Bendor’s things on the table.) One of us should go to the convento tomorrow to ask help from Padre Miguel. You might want to do that, Estrella. He helped us before with Manuel’s funeral so I’m sure he’ll help us again. I will go tana to the munisipyo and ask for plywood that we can use for Osmar’s coffin. And go to your Manding Miling man gali tomorrow, Corazon. Tell her we will borrow anay her playing cards and mahjong set for the wake. And the tolda (canvas tent) tana, your Manong Kardo will surely help us with that. Ay, we have so many things to do but many will surely help us get them done man.

PADRE MIGUEL (From outside.) Manding Soling? Estrella! Manding! This is Padre daad!

ESTRELLA They’re here run, ‘Nay!

Corazon assists Estrella in getting up.

MANDING SOLING Padre?

Padre Miguel enters with some women. Just like Manding Soling and Corazon, they are also all wet from the rain.

MANDING SOLING Padre.

PADRE MIGUEL Estrella. Manding. (Holds Manding Soling’s hands.) I am sorry gid to be the one to tell you this but …

MANDING SOLING We already know, Padre. Corazon and I saw it kaina. We were on our way to him daad to plead that he not leave for Mindoro anay but … we were late run. By that time, he was already out in the sea with Berto, Padre. And we saw it gid. Ay, Corazon and I saw it gid, Padre!

PADRE MIGUEL We have his body run outside, Manding.

ESTRELLA Ay, Ginuo ko, Osmar!

The men bring in the body of Osmar. Estrella and Corazon rush to it, wailing.

CORAZON ‘Tay!

ESTRELLA Osmar! Ay, forgive me gid, Osmar. Forgive me! I didn’t mean what I said gid kaina! Osmar!

The women attend to Estrella and Corazon while the men bring Osmar’s body to the bedroom. They lay it gently on the bed.

MANDING SOLING Rest well, my child. Now, you no longer have to worry about working so hard. Don’t worry about us, Osmar. Soon, we will be all right man. Soon, everything will be all right man.

She kisses his forehead. Padre Miguel then sprinkles Holy Water over Osmar’s body. Soon, the visitors move quietly to the kitchen. Corazon goes with them and gets a towel and washbasin. She goes back to the room and gives these to Estrella. In a while, Estrella cradles Osmar’s body and gently cleanses it.

ESTRELLA I pray you are at peace run, Osmar. Watch over us lang, ha? So we won’t be too helpless. Ay, I do not know what will become of us run. But don’t worry. God will take care of us man siguro. And forgive me again, Osmar. Ay, forgive me. Forgive me.

Manding Soling and Corazon watch this scene quietly. In the kitchen, Padre Miguel leads a prayer.

PADRE MIGUEL Maghimaya ikaw, Mariya

AND THE MEN AND magkalipay ikaw

WOMEN OF CALUYA buta ikaw ti grasya

ang Ginuong ‘yos rugyan kanimo.

The lights slowly fade out. In the dark, the barrio’s prayer becomes one with the relentless and the angry waves of the sea.

PADRE MIGUEL Nahamut-an ikaw labaw sa tanan nga mga babayi

AND THE MEN AND kag nahamut-an man ang bunga

WOMEN OF CALUYA kang imo busong nga si Hisus.

Santa Mariya, nanay kang Dyos

Ipangamuyo mo kami nga makasasala

Kadya kag sat ion kang amun kamatayun.

(Holy Mary, mother of God

pray for us, sinners

now and at the hour of our death.)

The end.

“Children of the Sea” is inspired by the Irish classic “Riders to the Sea.” Written by John Millington Synge (1871-1909) in 1904. Public Domain – Copyright Expired.

THE MAN WHO COULDN'T DANCE

THE MAN WHO COULDN’T DANCE by Jason Katims

CHARACTERS:
GAIL
ERIC

The attic of Gail’s house in Connecticut. Elizabeth sleeps in her crib. ERIC and GAIL enter.

GAIL: Not too loud.

(They walk to crib. Look in.)

GAIL: Eric, this is Elizabeth.

ERIC: Oh my God. She’s really… ugly.

GAIL: What?

ERIC: The kid is like a raisin or something.

GAIL: (To ELIZABETH, whispering.) Don’t listen to him Elizabeth. He’s jealous. (To ERIC.) I’ve been wanting so much for you to meet her. It’s like it would make the whole thing real or something.

ERIC: God. She’s a beautiful little raisin, isn’t she? It’s what was behind door number two.

GAIL: What?

ERIC: I don’t know. All night I haven’t been able to shake this feeling. It’s like I’m visiting the life I could have had. A baby. A house in Connecticut. A subscription to House and Garden.

GAIL: You won’t let me outlive that one will you?

ERIC: Come on Gail. House and Garden.

GAIL: I put it in the basket in the bathroom for you, you know. I remember how frightened you used to be of bathrooms without reading material.

ERIC: Don’t make me into some sort of like neurotic old boyfriend Gail.

GAIL: Are you going to deny your severe fear of bathrooms?

ERIC: Bathrooms are frightening, horrible places. Cold. Lonely. Sterile. But you should not use that to make me into some kind of little anecdote. Like a chapter of your life that was some little situation comedy. Do not mistake neurotic fears and obsessions for light comedy. Very dangerous, Gail.

GAIL: I don’t want to get into a discussion like this now, Eric.

ERIC: What kind of discussion is it, and when would you like to get into it?

GAIL: A discussion about us. And never. They’re waiting.

ERIC: They’re fine on their own.

GAIL: What is that supposed to mean?

ERIC: What?

GAIL: They’re fine on their own. Fine?

ERIC: It doesn’t mean anything.

GAIL: Are you saying that my husband is attracted to your girlfriend? Is that it?

ERIC: Wooo. Hold on Gail. All I said was they’re fine on their own.

GAIL: Fred and I happen to be very, very happy. Together. He’s not interested in some twenty-three-year-old music student and her stupid thesis on Todd Rundgren.

ERIC: You seemed very interested over dinner.

GAIL: Who the hell would write a thesis on Todd Rundgren? Is she going to hand out T-shirts and loose joints at her orals?

ERIC: She’s just a date, Gail. A date.

GAIL: It didn’t sound like that on the phone. “She’s beautiful. She’s intelligent. She’s not hung up by society’s rules.” These are your words. I think you should grow up.

ERIC: Why?

GAIL: Why should you grow up? Are you asking me why you should grow up?

ERIC: Yes. I’m interested in hearing about it from someone who thinks she has.

GAIL: That is what people do. They get married. They have kids. They remember their ideals fondly. They try to stick to them in their own way. They donate to public television. They get by.

ERIC: Don’t cry, Gail. Please do not cry.

GAIL: Oooh, that gets me. What makes you think I’m going to cry?

ERIC: Because you regret your choices. And now you’re going to cry.

GAIL: I regret my choices? Fuck you.

ERIC: I’m sorry. I said what I thought. I broke the unwritten rule between us since we broke up. I’m supposed to smile, and talk to you like I’m really interested in just the right amount of sugar to put into the pecan pie recipe.

GAIL: I can’t believe you said that thing about my pie.

ERIC: I liked the pie. I thought it had a little too much sugar. I just don’t understand why everyone who makes pecan pie is obligated to put too much sugar in it because every other pecan pie has too much sugar in it. It’s like a world doomed to repeat its horrors. I eat that pecan pie and I think we’re just marking time until the next goddamn Holocaust.

GAIL: Are you saying I baked a Nazi pie?

ERIC: Not intentionally.

GAIL: You shouldn’t have criticized my pie in front of company.

ERIC: Gail, I am the company.

(A beat.)

GAIL: Oh am I glad that you are not the father of my daughter. I am so happy to not have to worry for her about your inconsistency, your stubbornness, your uncanny ability to make the most politically and philosophically interesting choices leaving yourself and your loved ones in the shit heap. Let’s just spend the rest of the night playing Pictionary. All right?

ERIC: This is the fourth time tonight you brought up Pictionary. Are you forcing me to to play fucking Pictionary?

GAIL: It’s just a game, Eric. Or am I wrong. Is it actually going to join forces with the pecan pie to cause the next Holocaust?

ERIC: It’s a waste of time. People sit around and solve meaningless little puzzles and form arbitrary alliances for no other reason than to pass time. Well, time is passing well enough for me without games, Gail. Fred wastes enough of my time talking about his fucking boat. Does he really think I care about his fucking boat? All right, great. He bought a motorized flotation device. Does he really think I want to go on for hour after hour about it?

GAIL: So good. It’s good to know how you feel about Fred.

ERIC: How do I feel about Fred?

GAIL: I always knew you didn’t like him.

ERIC: How can I like him or not like him? I don’t know him. I know his boat. I could draw the blueprint for his fucking boat. I don’t know him.

GAIL: It’s so goddamn easy for you.

ERIC: What?

GAIL: It’s so easy for you not to play Pictionary. You’re funny, verbal, provocative. Do you know how intimidated my husband is by you?

ERIC: Play fucking Pictionary, Gail. Play your heart out. I’ll stay here with Elizabeth.

GAIL: You belong with Elizabeth.

ERIC: Purity-wise?

GAIL: Maturity-wise.

ERIC: (Change of tone) You don’t love Fred.

GAIL: What?

ERIC: You don’t love Fred.

GAIL: That’s it. I demand that you play Pictionary, Eric. I goddamn insist.

ERIC: Why did you marry a man you didn’t love?

GAIL: I never said I don’t love him.

ERIC: Christ, Gail. Tell me you love him. Please.

GAIL: YOU GOT ON THAT FUCKING BOAT. The crucial point. The pinnacle time. The absolute quintessential turning point of our relationship and you’re on a fucking boat to fucking Saint John.

ERIC: That has nothing to do with it.

GAIL: It’s got everything to do with it.

ERIC: You make it sound like you made some kind of choice between two men. Like it was me or him.

GAIL: It was.

ERIC: It was? Come on Gail. It’s a huge world. If it were a choice between me and Fred most women would just fucking shoot themselves.

GAIL: You threw it away.

ERIC: I never threw you away.

GAIL: Not me. Everything. Eric, you’re such an asshole. Everyone’s goddamn guru. Living by your values. True to yourself. The ascetic. The Twentieth Century Philosopher. Eric, I have a question for you. A real question. Why are you working on a farm? Why? It’s like I’m supposed to admire you or something. I’m so sick of your untraditional paths. The Farm Boy from Bensonhurst. You’re wasting your intelligence. You’re wasting your intelligence picking vegetables. There’s nothing to admire about that. It’s stupid.

ERIC: You’re right. Why work with my hands to produce a reasonably priced source of nourishment for my fellow human beings while I could be getting fat and playing Pictionary.

GAIL: I gained four pounds. Four. Don’t dare say I’m getting fat. And there’s nothing wrong with playing Pictionary, you goddamn all-knowing fool. You lost me.

ERIC: I know.

GAIL: It pisses me off. It really pisses me off. That thing you said about me regretting my choices. At least I made a choice.

ERIC: But you do regret it.

GAIL: I love Fred, Eric. I do love him. Not like I loved you. But we have these things together. This family. This feeling. This sureness.

ERIC: I don’t consider your need for structure your strongest trait.

GAIL: Look, Eric, I don’t think I can have this conversation with you. I’m sorry things have to happen the way they happened. Let’s go downstairs.

ERIC: Right. I’m sorry.

GAIL: You’re just being yourself.

ERIC: That’s what I’m sorry for. I should say good-bye to Elizabeth. Who knows when I’ll see her again?

(ERIC walks to the crib. He looks down. In a moment, he bends over to her.)

GAIL: Eric! She’ll wake up.

(But ERIC lifts her into his arms. When he turns back, his face is flush with tears)

GAIL: Eric, what is it?

(ERIC cuddles ELIZABETH. He puts his lips to her forehead. He places her gently back in the crib)

GAIL: What?

ERIC: It’s um. It’s this thing I need to tell you. I can’t dance, Gail.

GAIL: You can’t dance. This is why you’re crying? Eric, a lot of people can’t dance.

ERIC: I don’t know why I can’t dance. But it’s—I can’t. I can’t make my body move in these ways that the music is demanding that I move. It’s just so goddamn embarrassing. The situation. I mean, standing in public around hundreds of people who are displaying their purest, truest selves. I mean, it takes them no more than two drinks and their souls are out there on the dance floor. Their goodness. Their sensuality. They’re sharing and loving. I watch that, look at that. But my body fights it. I start to analyze the music. The rhythm. The time signature. I understand the theory of dancing. The idea of spontaneously sharing in this moment that exist now and only now. The give and take with your partner. Two mirrors on a land where gravity holds you to this point and then leaves you free. And that universe happens right there and then. Like, truth. I understand this intellectually. But Gail, I never have experienced it. I can’t dance.

GAIL: How did Elizabeth make you think of that?

ERIC: When we were together. There were all these times when you would arrange for us to be in these places. These parties. And invariably there would be a band, or music playing and invariably people would start dancing.

GAIL: I would arrange this? Like I did this to you?

ERIC: Invariably you would want to dance. And I wouldn’t dance with you. I wouldn’t dance with you, Gail. And I could see the hurt register on your face. I could see the anger build within you. I could see that this just wouldn’t do for you.

GAIL: Why didn’t you just say “I can’t dance.” Why didn’t you just tell me?

ERIC: Because it was the dam holding the water. If I let that out, that one thing, everything would follow. I couldn’t dance. I couldn’t have a normal talk about the weather with a neighbor without getting into a conversation about God, love and eternity. I mean, after all, the weather has these huge connotations. I couldn’t act correctly in social situations. I couldn’t sacrifice truth for a relationship. I couldn’t hold you when you needed to be held because I wanted you to be stronger. Because I wanted you to be stronger. I couldn’t ask for the warmth of your touch out of need. I couldn’t let myself. I would only ask for your touch out of strength. Out of something that wouldn’t become sick and interdependent and symbiotic. I wasn’t able to do these things. I don’t know, Gail. I mean, you marrying Fred didn’t really say anything to me. It was like something in this continuum. This cycle. I mean, it was this thing that happened in my life. The love of my life got married to another man. It didn’t seem permanent but the fact that Elizabeth… The fact that this angel.. This unbelievable gift isn’t mine. And will never be mine. This is killing me.

GAIL: Oh my God, Eric. You’re human.

ERIC: I’ll never have a daughter, Gail.

GAIL: Yes, you will.

ERIC: I’m thirty-seven. I have done nothing but make myself more isolated, unavailable, and unappealing. Believe it or not, it’s difficult picking up women with this type of conversation. I work for four dollars an hour, Gail. I never earned a college degree.. I can’t bring myself to work for someone who is not producing something with some kind of goodness. That rules out ninety-eight percent of job openings. And the other two percent pay approximately four dollars an hour. I am not really going to change. I don’t know why this is. People think I make these choices. But you’ve got to believe me, Gail, I have no control. I can’t dance.

GAIL: I never knew you couldn’t dance. I always thought it was that you wouldn’t dance.

ERIC: Could you hold me?

GAIL: I don’t think so, Eric. I mean, I don’t think I would be able to let go.

ERIC: Yeah. You’re right. (Pause. ERIC wipes his eyes) Gail, there were these things that you needed. Just to breathe you needed them. And it was so clear that there was no way I was going to provide you with them. And it was this thing that I did. This thing that I did. It wasn’t that horrible. You needed to find someone. I felt that you needed me off the continent. Please believe me, Gail. When I got on that boat, I was thinking of you. Not of me.

GAIL: I believe you.

ERIC: Well, this is a sign of times to come. The first time we had a conversation where your eyes stayed dry and mine didn’t.

GAIL: I cried.

ERIC: We better get downstairs before Marie tells Fred about her orgy with the British invasion.

GAIL: There was one time you danced with me.

ERIC: I don’t remember.

GAIL: On my wedding day.

ERIC: I couldn’t have.

GAIL: You did. I remember it clearly. I remember thinking how strange it was to be in this wedding gown. On my wedding day. Dancing with you. And you weren’t my groom.

ERIC: Oh yeah. That. I wasn’t dancing, Gail. I was walking. I convinced myself that I was walking very slowly and sideways. It was the only way I could do it.

GAIL: Eric, maybe one day…

ERIC: Please don’t say it.

GAIL: Right.

ERIC: Gail, I cannot stand Marie. I can’t stand her. Please, find something to say to her about me so she won’t expect me to sleep with her tonight.

GAIL: I’m sure you’ll do just fine on your own.

ERIC: She was just an excuse to see you. I figured, I’d call with this woman in my life. I’d be less of a threat to the home. It was really stupid of me.

GAIL: No. It was human.

ERIC: Thank you for showing me your daughter. She is absolutely the single, greatest thing I’ve ever looked at in my entire life.

(They are about to leave)

GAIL: Eric.

(ERIC turns. GAIL walks up to him slowly. She puts her head into his chest. His arms fold around her.)

GAIL: Eric, you are Fred Astaire. You are Fred Astaire.

ERIC: No, no. Sweetheart. I’m Eric.

GAIL: You are Fred Astaire. Just move the slightest bit. You have nothing to prove to anyone. Just move a little slowly. The slightest bit. Don’t worry.

ERIC: We should go down there.

GAIL: In a minute. Just one minute.

(GAIL rocks back and forth musically. ERIC makes a slight movement trying to follow her. In a moment, he relaxes. He is dancing. GAIL reaches over, still holding him, and pulls the light cord.)

BLACKOUT

THE END

MRS. SORKEN

MRS. SORKEN by Christopher Durang

Mrs. Sorken was the opening play of the six-play evening.
Note: The playwright offers the alternative ending published here.

(Enter MRS. SORKEN to address the audience. She is a charming woman, well-dressed and gracious, though a little scattered. She is happy to be there.)

MRS. SORKEN: Dear theatergoers, welcome, and how lovely to see you. I’ve come here to talk to you about theatre, and why we all leave our homes to come see it, assuming we have. But you have left your homes, and you’re here. So, welcome!

Now I have written down some comments about theatre for you, I can’t just find them.

(searches through her purse)

Isn’t it refreshing to see someone with a purse?

(looks some more through the purse)

Well, I can’t find my notes, so I’ll have to make my comments from memory.

(From here on, she is genuinely winging it—some of it may be thoughts she prepared, much of it is thoughts that pop into her head as she is speaking. She is not nervous, though. She loves talking to the audience.)

Drama. Let’s begin with etymology, shall we?.... etymology, which is the history of the word. The word “drama” comes from the Greek word “dran,” which means to do, and which connects with the English word “drain,” meaning to exhaust one totally, and with the modern pharmaceutical sedating tablet, Dramamine, which is the trade name of a drug used to relieve airsickness and seasickness and a general sense of nausea, or “nausee,” as Jean-Paul Sartre might say, perhaps over a cup of espresso at a Paris bistro. How I love Paris in the spring, or would, if I had ever been there; but Mr. Sorken and I haven’t done much traveling. Maybe after he dies I’ll go somewhere.

We go to the drama seeking the metaphorical Dramamine that will cure us of our nausea of life.

Of course, sometimes, we become nauseated by the drama itself, and then we are sorry we went, especially if it uses the F-word and lasts over four hours. I don’t mind a leisurely play, but by 10:30 I want to leave the theatre and go to sleep. Frequently, I prefer Dramamine to drama, and only wish someone would renew my prescription for Seconal.

Secondly… we have the word “theatre,” which is derived from the Greek word “theasthai,” which means to view.

And nowadays we have the word, “reastat,” a device by which we can dim the lights in one’s house slowly, rather than just snapping them off with a simple switch.

And thirdly, we have the Greek god “Dionysus,” the last syllable of which is spelled “s-u-s” in English, but “s-o-s” in Greek, the letters which in Morse code spell help—“Dionysos” is the god of wine and revelry, but also the father of modern drama as we know it.

The Greeks went to the theatre in the open air, just like the late and wonderful Joseph Papp used to make us see Shakespeare. Shakespeare’s language is terribly difficult to understand for us of the modern age, but how much easier it is when there’s a cool breeze and it’s for free. If it’s hot and I have to pay, well, then I don’t much like Shakespeare. I’m sorry, I shouldn’t say that. He’s a brilliant writer, and I look forward to seeing all 750 of his plays. Although perhaps not in this lifetime.

But back to the Greeks. They went to the open-air theatre expecting the drama they saw to evoke terror and pity.

Nowadays we have enough terror and pity in our own lives and so rather than going to the theatre looking for terror, we go looking for slight irritation. And rather than looking for the theatre to evoke pity, we look merely for a generalized sense of identification as in “Evita was a woman, I am a woman” Or “Sweeney Todd was a barber, I go to the hairdresser.” Or “Fosca in Passion should have her moles removed, I know a good dermatologist.” That sort of thing.

But did the Greeks really experience terror and pity? And if so, what was it in all that matricide-patricide that so affected them?

I know that seeing Greek drama nowadays, even with Diana Rigg in it, really rather baffles me, it is so very different from my own life. My life with Mr. Sorken is not something that Diana Rigg would wish to star in, even on PBS. My life with Mr. Sorken, I’m sorry to say, is not all that interesting.

Indeed, addressing you at this very moment, I’m sorry to say, is the highpoint of my life to date.

Could I have lived my life differently? Women of my generation were encouraged to marry and to play the piano, and I have done both those things. Is there a piano here? I don’t see one. I might have played a sonata for you, or a polonaise.

But back to my theme—Drama, from the Greek word “dran.”

When we leave the drama, we return to our homes feeling “drained.” And if it’s been a good night in the theatre, we leave feeling slightly irritated; and feeling identification with Evita or Fosca or that poor Mormon woman in Angels in America.

And so, drained, we get into our nightgowns, we adjust our reastats from light to darkness, me into bed next to Mr. Sorken, we fall into a deep REM sleep, dreaming God knows what mysterious messages from our teeming unconscious, and then in the morning we open our eyes to the light of the new day, of the burgeoning possibilities.

Light from the Greek word “leukos,” meaning white, and the Latin word “lumen” meaning illumination. In German, der licht; in French, la lumiere. All art leads to light.

Light. Plants need light to grow. Might people need art to grow? It’s possible. Are people less important than plants? Some of them are certainly less interesting.

But there is some connection between theatre and light, and people and plants, that I am striving to articulate. It’s about photosynthesis, I think, which is the ingestion of light that plants go through in order to achieve growth.

And you see, it’s “light” again—“photo” comes from the Greek word, “phos,” which means light and which relates to phosphorescence, or the “the light given off.” And “synthesis” comes from the Greek prefix, “syn-“ meaning together, and the Greek word “tithenai,” meaning to place, to put.

Photosynthesis—to put it together with light.

We go to the theatre, desperate for help in photosynthesis.

The text of the play is the light, the actors help put it together, and we are the plants in the audience.

Plants, light, theatre, art. I feel this sense of sudden interconnection with everything that’s making me feel dizzy. And Dramamine, of course, is good for dizziness.

Now to wrap up.

Dear theatergoers. I hope you enjoy your evening this evening. I’m not quite sure what you’re seeing, but whatever it is, I’m sure it will be splendid.

And, by the way, if you are ever in Connecticut, I hope you will drop in and say hello to me and Mr. Sorken. He prefers that you call first, but I love to be surprised. So just ring the bell, and we’ll have cocktails.

And I hope you have enjoyed my humbly offered comments on the drama. I have definitely enjoyed speaking with you, and have a sneaking suspicion that in the future, it is going to be harder and harder to shut me up.

(Either end with that, or possibly add and end with: “And so, the highpoint of my life to date being over, I leave you with the play.”)

THE END