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Mary: Late fifties. Married to John for twenty five years. John: Late fifties too. Again, married to Mary for twenty jive years.
LIGHTS ARE DIMMED MARY stands stage-left. Her back is to JOHN Lost and confused, she acts like a child in a supermarket. JOHN stands stage right, facing MARY. Bone tired, he tries to gently coax MARY back to reality. But his patience is wearing thin. JOHN signs the "moon song," softly, but uncertainly- as if trying to calm down a toddler on the verge of a volcanic tantrum. Moon Son Verse One: I'm lying on the moon My dear, I'll be there soon. It's a quiet and starry place Time 's swallowed up in space, We 're here, a million miles away. Verse Two: There's things I wish I knew, There's no thing I'd keep from you, It's a dark and shiny place But with you, I know I'm safe, We 're here, a million miles away. LIGHTS FADE UP MARY: JOHN: MARY: JOHN: John? ... Mary John? Where are you? John. John, I can't see. Mary, I'm right here. JOHN goes to put a comforting had on MARY's shoulder. MARY walks in the opposite direction. MARY: John? Exasperated. JOHN continues to stalk MARY around the stage. Almost comedic, apart from MARY's expression. Think: Twisted, pantomime: A "HE'S BEHIND YOU!" moment. JOHN: Mary, look at me! Beat. MARY turns, and sees JOHN.
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PERCOCIC STAG£ 82 Apri I 2015 Cust
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What you could have done, you did n
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Pro/offY:_e: A lane. Warm lights co
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not that long really. I want to fin
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Peter: Frances, perhaps your sins a
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Scene 4: It is Friday the 15 th of
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Brushstrokes by Cian Nugent McGealy
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Arthur wakes up. ARTHUR: Quarter to
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Arthur: Silence He doesn't seem to
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Arthur: Why's he looking at me. Jac
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Arthur: It's the dead of night here
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NOIR 2000 A Play by Luke Shanahan
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LUCY Get back out there and act! (L
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to entrap here (MARK walks to downs
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[Mark looks offended but in a over-
Page 31 and 32:
[MARK walks backwards and puts his
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MARK {slowly} The manager, the othe
Page 35 and 36: LUCY (huge sigh whilst throws arms
Page 37 and 38: [pause] LUCY Then leave!- MARK NO!-
Page 39 and 40: LUCY Ladies and Gentlemen, well. On
Page 41 and 42: Characters: David, fifty years old,
Page 43 and 44: ELLIOT: How come? DAVID: I'm having
Page 45 and 46: DAVID: I don't remember anything. E
Page 47 and 48: DAVID: Stop. Don't go any further.
Page 49 and 50: ELLIOT: I tried to put a whole ocea
Page 51 and 52: See, I knew I was right. I'm always
Page 53 and 54: Setting: Key: (cast directions) *cr
Page 55 and 56: Scene 2 -father can show no true em
Page 57 and 58: FATHER: Call me Dad, and don't inte
Page 59 and 60: Scene 3 {Clara on phone) CLARA: Max
Page 61 and 62: Scene 5 *houselights up, very dim*
Page 63 and 64: Spiderweb by Ruairi Nicholl
Page 65 and 66: T: OK, since it appears you won't b
Page 67 and 68: (Sean glares) T: Come on Sean. That
Page 69 and 70: T: (looks out to audience in a "wha
Page 71 and 72: SC2 (Same set setup as before. Ligh
Page 73 and 74: • floorboards. (pause) Actually,
Page 75 and 76: same ... the same shame. (Therapist
Page 77 and 78: A Cuppa Tea and Papayas by Dove Cur
Page 79 and 80: Scene I. In a classroom at school.
Page 81 and 82: Darren's birthday is coming up soon
Page 83 and 84: ALEX Oh. Silence ALEX At least he a
Page 85: Possession by Sean Farrelly
Page 89 and 90: MARY: JOHN: MARY: NO! They're not g
Page 91 and 92: STEPHANIE: WILLIAM: STEPHANIE: No,
Page 93 and 94: STEPHANIE: WILLIAM: STEPHANIE: WILL
Page 95: - [ f" [ r
Page 99: [ ,! - ; :.,
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