Theatrical Plays

by

Kathleen St. John

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"THE ORCHID ROOT"

 

A Dramatic One-Act Play

In One Scene

[5 Phases]

 

2007

 

(from author's "Towards Elysium" collection of writings)

with Extensive (or Simple!) Visual-Setting: Interior/Exterior;  Lights;  2 Percussionists

WGAW Reg #: 1224656

 

 

For

 

A CAST OF 9 ACTORS   (6M, 3W)

1 Live Dog

(23 Non-Speaking M/W Extras)

 

 

(in chronological order of appearance)

 

 

(Mexican-American)

Male Bus Driver

[Span. / Eng.]

(white American from

Chicago)

Male Advertising

Non-Executive

[Eng.]

(black Canadian)

Male Retired Cabbie

[Fr. / Eng.]

(white Portuguese)

Female Widowed

Hotel Maid

[Port.]

(white Danish)

Male Young Deaf Boy

 

(black British)

Female Model

[Brit. / Eng.]

(white German-American)

Male Idle Gentleman

[Ger. / Fr. / Eng.]

 

Female Fluffly & Friendly Small White Dog

 

(Asian Chinese)

Male Computer Geek

Student

[Chin.]

(white Russian)

Female Journalist

[Rus. / Fr. / Eng.]

 

 

 

 

 

Synopsis:

"THE ORCHID ROOT"

[Dramatic Play in One Act]

 

 

Foundation:

 

Time is the healer, Time is the teacher, Time is the judge and jury.

The domain of Time controls man's actions and destiny as It gradually hastens his load!

 

"As no soul leaves this present existence in a fully complete and prepared state,

we must suppose that there is an intermediate state,

a realm of progressive development in which souls are prepared for the final judgment,

and the soul has passed into a place of light and refreshment.

Just an intermediate state each person is placed in.

to reflect upon their earthly actions and consequences.

not entirely free from venial (excusable) faults."

 

*

 

A cluster of individuals are traveling together on an aging bus down a highway.

Journeying to an unspecified destination, unclear of what awaits them all.

Nine Characters interact with each other,

bringing out their unique qualities both negative and positive.

Seeing how humans react with each other under various circumstances.

Expressing the negative limitations of micro-reality

in order to emphasize the positive potential of macro-Infinity.

Why are they there?  Where are they going?  What is their fate?  When will it end?

The un-knowing is where they are.

Why they all even got on the bus to begin with is a curious dilemma.

Outside of the obvious human attitudes of the given characters,

the Play extends its meaning and thought far beyond the limited scope of its passengers.

 

 

Regardless of whether the setting is considered to be in reality or non-reality.

What is the thread?  Is there a running thread through the experience being presented?

Could be said to be all positive elements in this work of fiction.

The match that starts the flame in this Play could be the Character of the Model,

as her weapons of laughter and genuine enthusiasm are a reflection of the  positive.

and therefore, might be considered the thread.

 

 

What good is food at a time of chaos?

Food is a mere pacifier for our souls rather than a nutrient for our bodies.

 

 

As the situation for the Characters becomes more and more out of control,

Both negative and  positive forces broaden and separate more and more from each other,

resulting in a disconnection or schism occurring between the two opposing forces

which only continues to broaden and separate more and more

towards the edges of Infinity and Hell simultaneously.

becoming - at its widest possible point -

The ultimate positive domain above the ultimate negative domain.

The ultimate "blossom" above the ultimate "root" ---

The Highest Haven above the Lowest Abyss,

by Play's end.

This paradox of opposing directions functioning simultaneously

represents the two extreme emotional/physical entities of existence itself.

 

 

One side of the schism

becoming completely exhausted and broken and powerless

into the worst of a negative existence.

While the other side of the schism

becoming completely energetic and cohesive and all-powerful

into the best of a positive existence.

Resulting in a simultaneous and continuous symbiotic relationship

from both negative and positive energies voraciously feeding off each other,

at one end continuing to strengthen, at other end continuing to weaken

by Play's end.

Causing excessive light from the positive force to become blinding to the negative force...

This positive force only becoming more blinding and more flourishing,

While the negative force only becoming nearly non-existent and nearly dying,

by Play's end.

 

 

Proclaiming that

The prophetic and benevolent powers of all positive forces

inevitably will endure and overcome the malevolent powers of all negative forces.

 

 

Peace.

 

 

 

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"LOVE GAME"

 

A Serio-Comedy Of Manners

Play in Two Acts

[18 Scenes]

 

2007

 

(from the author's "Moments" collection of writings)

with 5 Extensive (or Simple!) Stage-Settings: 2 Interior, 3 Exterior;

Lights;  recorded-sounds

WGAW Reg #:

 

 

For

 

A CONDENSED CAST OF 10 ACTORS    (6M, 4F)

[Each Actor in Dual-or-Triple Roles]

(2 Non-Speaking F Extras)

 

 

 

(in order of significance)

 

 

Family One - Coventry, The Woodhouse Estate:

 

Rosalie Woodhouse  /  Elinor

Rodney Pritikin  /  Umpire

Peter Woodhouse  /  Dominic  /  Poco

Penelope Woodhouse  /  Mildred Prendergast

Edward Woodhouse  /  Fielding

Loretta Woodhouse  /  Agnes  /  Boy

 

 

Family Two - Sycamore Manor, The Prendergast Estate:

 

Blake Prendergast  /  Quentin

Elisabeth Prendergast  /  Francina

Stanley Prendergast  /  Armand

Julius Prendergast  /  Reginald

 

 

 

 

 

A Brief Descriptive-Listing of the

 

ENTIRE CAST OF 21 SEPARATE CHARACTERS:

 

 

 

(in order of significance)

 

 

Family One - Coventry, The Woodhouse Estate:

 

ROSALIE,  daughter    (mid 20s)

RODNEY PRITIKIN,  Rosalie's life-long friend    (mid 20s)

PETER,  out-of-the-closet son    (very late 20s)

PENELOPE,  mother    (late 40s)

EDWARD,  father    (early 50s)

LORETTA,  grandmother    (late 60s)

POCO,  Peter's Boyfriend    (early 20s)

FRANCINA,  Maid    (early 40s)

REGINALD,  Butler    (early 70s)

ARMAND,  Chef    (mid 50s;  non-speaking role)

QUENTIN,  Gardener    (mid 40s;  non-speaking role)

 

 

Family Two - Sycamore Manor, The Prendergast Estate:

 

BLAKE,  son    (early 30s)

ELISABETH,  mother    (early 50s)

STANLEY,  father    (mid 50s)

JULIUS,  grandfather    (mid 70s)

MILDRED,  grandmother    (very late 60s)

AGNES,  Maid    (late 50s)

FIELDING,  Butler    (early 60s)

DOMINIC,  Chef    (straight!; mid 40s;  non-speaking role)

ELINOR,  Blake's Doubles-Partner    (late 30s)

UMPIRE in tall-chair w/microphone [voice-box]    (early 50s)

 

 

vaguely-seen BOY  [Loretta],  w/moving-dolly & props    (age 8-12;  non-speaking role)

2 giggly pretty teen-age GIRLS around Blake   (extras;  non-speaking roles)

MOROCCO & CASABLANCA,  2 large barking dobermann-pinscher guard-dogs  (tape)

other required sounds   (tape)

 

 

 

 

 

Synopsis:

"LOVE GAME"

A Serio-Comedy Of Manners

[Play in Two Acts]

 

 

Foundation:

 

Comedy is drama in disguise. clarity and timing, with a sense of humour.

Comedy reveals our secret desires and yearnings, so that we can laugh at them!

Comedy reveals the truth. about people, situations, and life.

 

*

 

This Play is an entertaining spoof on the interactions of

two neighboring prominent families residing in Victorian mansions

on  Eutaw Place around Reservoir Hill in Baltimore Maryland

at turn of the Century in first decade of 1900s.

Reflecting upon the daily feelings and habits

and happenings of members from both families.

having true concerns over their maturing children becoming fine adults.

 

 

The story evolves around the Character Rosalie Woodhouse,

a young woman finding herself in this world.

A love-triangle of sorts gradually forms between Rosalie and two male Characters

Blake Prendergast (her neighbor) and Rodney Prittikin (her long-time friend).

Complications set in, where Blake's mother Elisabeth Prendergast steps in

to plot ways to entice Rosalie in her son's direction,

to the dismay of Rosalie later on in the story.

Rosalie's true friend Rodney plays a large part

in emotionally guiding Rosalie through the haze of events occurring.

as both families attempt to support their own offspring

causing an interesting duality of acceptance for the audience to ponder over.

 

 

Things happen --- both positive and negative ---

causing changes in people's attitudes and actions.

In the process, all Characters grow

from insensitivity and selfishness to caring and responsibility;

as the 'game' (in various respects) becomes the embouchure or glue

which helps mold them as individuals;

All their hurts transforming into triumphant joys!


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