by Cary Gitter

PERUSAL SCRIPT

www.stagerights.com THE SABBATH GIRL Copyright © 2020 by Cary Gitter All Rights Reserved

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The Sabbath Girl had its world premiere at Penguin Rep Theatre (Joe Brancato, Founding Artistic Director; Andrew M. Horn, Executive Director) in Stony Point, New York, on August 2, 2019. It was directed by Joe Brancato. The scenic design was by Christopher and Justin Swader, the costume design was by Gregory Gale, the lighting design was by Todd O. Wren, the sound design was by Matt Otto, the projection design was by Yana Birÿkova, and the stage manager was Michael Palmer. The cast was: Angie ...... Madison Micucci Sophia ...... Patricia Mauceri Seth ...... Jeremy Rishe Blake ...... Ty Molbak Rachel ...... Lauren Singerman

The Sabbath Girl opened Off-Broadway at 59E59 Theaters on February 11, 2020, presented by Penguin Rep Theatre in association with Morton Wolkowitz and Joseph Grosso. The cast was: Angie ...... Lauren Annunziata Sophia ...... Angelina Fiordellisi Seth ...... Jeremy Rishe Blake ...... Ty Molbak Rachel ...... Lauren Singerman

CHARACTERS Minimum Casting Requirements: 3F, 2M ANGIE: Female. 30. Italian-American. A gallery curator. Smart, passionate, alone. SOPHIA: Female. 77. Italian-American. Angie’s grandmother. Romantic, magical, funny. SETH: Male. 32. Jewish-American. An Orthodox Jew. A knish maker. Bookish, awkward, lonely, but charming. BLAKE: Male. 31. A hotshot painter. Sexy, arrogant, brooding. RACHEL: Female. 35. Jewish-American. An Orthodox Jew. Seth’s sister and partner in the knish business. Overbearing but well meaning, traditional, a yenta.

SETTING Now. Summer. New York City.

APPROXIMATE RUNNING TIME 80 minutes.

AUTHOR’S NOTES

NOTE ON THE TERM SHABBOS Shabbos goy [SHOB-iss goy] is a term for a “Sabbath ,” or a non-Jew who is asked by to perform tasks that are forbidden to them on the Sabbath, e.g., operating elevators, turning lights on and off, using appliances, heating up food, etc. Famous one-time Shabbos goys include Colin Powell, Martin Scorsese, Harry Truman, and Elvis Presley, who all helped out Jewish neighbors when they were young. Colin Powell even learned to speak Yiddish.

NOTE ON ORTHODOX JUDAISM The characters of Seth and Rachel are observant Orthodox Jews. This isn’t to be confused with Hasidic or ultra-Orthodox Judaism. Seth doesn’t wear all black or have a beard or sidelocks. He looks basically modern, except he dresses a bit formally and wears a yarmulke. Rachel dresses modestly and wears a head covering. They observe the Sabbath, keep kosher, attend synagogue, and socialize mostly with fellow Orthodox Jews, but otherwise they appear and talk like young, contemporary Americans. What sets them apart are their private religious beliefs and practices.

ACKNOWLEDGEMENTS I’m grateful to Joe Brancato, Andrew Horn, and everyone at Penguin Rep Theatre; the casts, creative team, and crew of The Sabbath Girl; Morton Wolkowitz and Joseph Grosso; the staff of 59E59 Theaters; David Winitsky and the Jewish Plays Project; Mark Orsini and Bonnie Davis at Bret Adams, Ltd.; Courtney Conwell and Michael Claassen at Writ Large; Jacob Schiff and Jiah Shin at CAA; Colette Robert; Dan Winerman; Jason Liebman; Leah Gitter; Virginia Gitter; Doug and Susie VanArsdalen; and Meghan VanArsdalen.

For my mother, Virginia Gitter, and in memory of my father, Sidney Gitter

“Three things have a faint savor of the world to come: Sabbath, the sun, and love.” , Berakhot

THE SABBATH GIRL – PERUSAL SCRIPT 1

1. AIR CONDITIONING FRIDAY NIGHT. ANGIE, 30, and her grandmother SOPHIA, 77, at Angie’s new apartment on the Upper West Side. It’s hot. SOPHIA: Angie! ANGIE: Nonna! What do you think of my new place?! SOPHIA: I think it’s… very nice. ANGIE: But… SOPHIA: Well, maybe it could use a little pizzazz. ANGIE: Nonna, I just moved in— SOPHIA: I know! And I can help you decorate. Get some color in here. ANGIE: That would be wonderful. SOPHIA: What are you paying? ANGIE: You don’t wanna know. SOPHIA: So… it’s just you in here? ANGIE: Yeah, it’s a one-bedroom. SOPHIA: A little lonely, no? ANGIE: No! It’s what I want! No more roommates. At age thirty. In this city, that’s like a heroic accomplishment. SOPHIA: Okay, have it your way. ANGIE: Thank you, I will. SOPHIA: It’s awfully quiet, though. How about some music? ANGIE: Nonna, it’s ninety degrees. I think it’s too hot for dancing— SOPHIA: Angie, darling, it’s never too hot for dancing. So how’s everything? How’s your job? ANGIE: It’s great, actually. SOPHIA: What are they calling you now? ANGIE: Head curator. I’m head curator of the gallery. SOPHIA: “Angie Mastrantoni, head curator.” I like the sound of that. ANGIE: So do I. SOPHIA: And how’s your social life? ANGIE: Nope! SOPHIA: Nope? ANGIE: We’re not doing that right now! SOPHIA: Doing what? Since when can’t a grandmother ask her beloved, brilliant, beautiful granddaughter about her social life?

THE SABBATH GIRL – PERUSAL SCRIPT 2

ANGIE: Nonna— SOPHIA: Yes, my darling? ANGIE: It’s 2020. SOPHIA: My God, it is. ANGIE: A woman’s worth isn’t determined by whether or not she’s in a relationship. SOPHIA: I didn’t say it was. I just want you to be happy. ANGIE: I am happy. I’m busy. SOPHIA: “Happy” and “busy” are not the same thing. ANGIE: For me maybe they are! I mean I’ve got so much going on at the gallery right now. Shows to plan. Artists I’m excited about. And they trust my eye. They trust me to see what’s new, what’s interesting. And then I get to share it with the world. That’s what I love. That’s what makes me happy. SOPHIA: Okay, but can I tell you something? ANGIE: I feel a Nonna aria coming on. SOPHIA: That’s right. ANGIE: All right, let’s hear it. SOPHIA: When I was young— nineteen or twenty— I thought I was doing fine. I had my job at Macy’s. I had my girlfriends. I went out dancing all the time. ANGIE: Roseland. SOPHIA: Roseland. You got it. But when I came home at night— you know, I was still living with my parents in Bensonhurst then— I’d look out the window at the moon, and it felt like… my life was a movie without a soundtrack. No music. Something was missing. And then I met Nonno that day at Coney Island, and suddenly there was music. And it lasted for forty years, until he died. That’s what having another person in your life does for you. ANGIE: I hear you, Nonna— SOPHIA: It doesn’t matter if it’s 1960 or 2020. We all need someone to dance through life with. ANGIE: That’s not actually true, /but— SOPHIA: You never feel that silence at night? ANGIE: When I get home at night, I check my email, eat a bowl of cornflakes, and pass out. SOPHIA: Sounds magical. ANGIE: Oh, and also, pretty much every guy in the city is an asshole in one way or another, so that’s an additional factor. SOPHIA: Now that can’t be true! ANGIE: Have you tried dating recently, Nonna? SOPHIA: The last time I went on a date was 1963.

THE SABBATH GIRL – PERUSAL SCRIPT 3

ANGIE: I rest my case. SOPHIA moves to leave. SOPHIA: Okay, I know you have your Friday night work to do. I’ll get of your hair. But I’ll be back, amore mio! ANGIE: I know you will, Nonna. And I promise: I’m happy. SOPHIA exits. ANGIE grabs a bottle of wine, a glass, and a box of Ritz crackers, sits down with a stack of artists’ portfolios. As she starts to look them over, there’s a knock at the door. She’s surprised. SETH, 32, appears on the other side of the door. He wears a yarmulke. They speak loudly across the closed door: SETH (in poor Korean): Mr. Lee! Annyeonghaseyo! Doum-i pil-yohae! [Hello! I need help!] ANGIE (baffled): What?! SETH: Doum-i pil-yohae, Lee ssi! [I need help, Mr. Lee!] ANGIE: Who is it?! SETH (confused): Oh— I’m sorry— that was Korean! I think I just knocked on the wrong door! I meant to knock on 4C— ANGIE: This is 4C! SETH: Oh— but where’s Mr. Lee?! ANGIE: Mr. Lee moved out! I just moved in this week! Pause. The closed door’s still between them. SETH: Ohhhh, that’s— He didn’t even— ANGIE: Yeah— SETH: Okay! Yeah! Sorry to bother you! SETH moves to go. But then stops, knocks again. ANGIE flings open the door in exasperation. ANGIE: What? They see each other. A beat. SETH: Hi. I’m Seth. I live down the hall. 4J— ANGIE: Angie. SETH: Nice to meet you. Welcome to the building. ANGIE: Thanks. SETH: So… this might sound kind of strange, but… I’m Jewish—

THE SABBATH GIRL – PERUSAL SCRIPT 4

ANGIE: Not strange. SETH: Right! Yeah. No. I mean, I’m Orthodox. I’m an Orthodox Jew— ANGIE: Okay… SETH: And it’s Shabbos right now. The Sabbath. Friday night— ANGIE: Yeah, I know. SETH: Wait, are you Jewish? ANGIE: Nope. Italian. But I grew up in the tristate area, which gives me honorary status. SETH: Ha! That’s a good one. Where’d you grow up? ANGIE (not trying to have a conversation): Jersey. SETH: Oh! (Re himself) Riverdale. The Bronx— ANGIE: Riverdale’s not the Bronx. Listen, I was just in the middle of doing some work, /so— SETH: Of course! I’ll get to the point! So… Mr. Lee used to help me out sometimes— ANGIE: Help you out? SETH: Yeah, with— You know, Jews aren’t supposed to do certain things on Shabbos? Operate appliances and whatever. It’s the day of rest— ANGIE: Right— SETH: But, you know, sometimes things come up. Little things. Unexpectedly. And you’re actually not allowed to ask a goy— a Gentile— to do them for you. But if you make a little suggestion, that’s kind of a loophole… She gets it. ANGIE: So what, you want me to help you with something? SETH: Air conditioning. ANGIE: Air conditioning? SETH: I had no idea it was gonna be so hot tonight. ANGIE: It’s pretty hot— SETH: Normally I would’ve put my AC on in the morning and just left it going all day. But I didn’t, like an idiot. And now my apartment’s a sauna. But I’m not allowed to turn my AC on now, because it’s— ANGIE: Shabbos. I get it. (Then, unwilling to help:) Sorry, I should really get back to work—

THE SABBATH GIRL – PERUSAL SCRIPT 5

SETH: What kind of work do you do? (Off her aloof look) I mean, if you don’t mind /my— ANGIE: I’m a curator. SETH: A curator? ANGIE: At an art gallery in Chelsea. SETH: Oh. So… what does /that— ANGIE: I find artists. Plan shows. It’s contemporary art. You know, “edgy” stuff. SETH: Wow. (Then) I’m a knish man. ANGIE: A what? SETH: I have a knish shop? On the Lower East Side? It’s on Hester Street. Konig’s Knishes? Maybe you’ve heard of it— ANGIE: I don’t think so. SETH: Oh. Well, not to brag, but the store’s actually kind of an institution— ANGIE: Never heard of it. I like a Nathan’s knish, though. SETH: Nathan’s knishes are really nothing compared to ours— ANGIE: I mean, they’re pretty frickin’ good— SETH: It’s not even like the same food, really— ANGIE (a little sharply): Well, I used to get Nathan’s at baseball games with my dad, so they kind of have sentimental value for me— SETH: Right! Ours are just better, though. That’s the emmis, the truth. You should stop by sometime, see what a real knish is like— ANGIE (eager to end this exchange): You know what? Let’s get your AC going. SETH: Thank you! ANGIE: But this is a one-time thing, right? /’Cause— SETH: Absolutely! One and done. Your mitzvah for the week. ANGIE (half amused, half annoyed): Whatever.

THE SABBATH GIRL – PERUSAL SCRIPT 6

2. CURATION A HIP ART GALLERY IN CHELSEA. ANGIE with BLAKE, 31, a hotshot painter. He’s wearing sunglasses. ANGIE: We are really excited about your work, Blake. BLAKE: Cool. ANGIE: And we would absolutely love to present your first New York solo show— BLAKE (forgetting her name): Can I be honest with you… ANGIE: Angie. BLAKE: You’re not the only gallery courting me right now. ANGIE: I’m aware of that— BLAKE: My Chicago show got a lot of attention. ANGIE: As it should have! It was… breathtaking. I’ve seen photos of every piece— BLAKE: It’s different seeing them in person. ANGIE: Of course— BLAKE: Being in the room with the work. My portraits… tend to have an intense effect on people. ANGIE: I believe it. They had an intense effect on me, and I was just in my living room looking at /photos— BLAKE: Where’s your living room? ANGIE: Where’s my living room? BLAKE: Where do you live? ANGIE: Oh— the Upper West Side? BLAKE: Mm. Weird. I guess what I’m trying to say… ANGIE (reminding him of her name again): Angie— BLAKE: —is that you’re going to have to… woo me. Pause. ANGIE: Woo you? BLAKE: I mean, with all these New York galleries knocking on my door, why is yours the one I should open up for? ANGIE: Well… well, you know we have an incredible reputation— BLAKE: I don’t care about reputation. ANGIE: What? BLAKE: I care about you.

THE SABBATH GIRL – PERUSAL SCRIPT 7

ANGIE: Me? BLAKE: I wanna know why you wanna present my work. Why you have to. ANGIE: Um— BLAKE: I know I’m this Hot Young Thing. But that’s not real. What’s real is the work. ANGIE: So you want me to tell you… why I like your paintings? Pause. BLAKE: Woo me. Pause. ANGIE: Okay. Well… what first excited me about your work was… how you kind of magically combine the old and the new. The classical and the modern. Because, honestly, your portraits have the technical precision of the Old Masters. They’re like Rembrandts, with your elegant use of light and shadow and color— BLAKE (loving this): Go on. ANGIE: But then there’s this sharp contemporary bite to them too. You peer into people’s souls— into the anxiety of what it means to be alive in the twenty-first century. I mean, I look at your paintings and I feel like you’ve seen into my soul. I guess that’s what I love most: your… penetrating insight into human nature. BLAKE: Penetrating insight. ANGIE: Yes. BLAKE: You really mean all of that? ANGIE: Yes. BLAKE: You… see deeply, Angie. ANGIE: I do. Pause. They look at each other. Electricity in the air. Then Blake’s phone buzzes. He checks it. BLAKE: Shit! I gotta go meet my agent for lunch in Tribeca. ANGIE: Okay. But where’s your thinking at, in terms of /the— BLAKE: I told you: you gotta woo me. ANGIE: Right— BLAKE: But you’re off to a good start. I think I’m falling a little bit in love. ANGIE: Ha! BLAKE: I fucking love that passion, Angie. You might just be my ideal viewer. Ciao. And he’s gone. ANGIE stands there. Exhales.

THE SABBATH GIRL – PERUSAL SCRIPT 8

3. LUNCH ANGIE on a park bench with her lunch. SOPHIA appears. SOPHIA: There she is! ANGIE: Visiting me on my lunch break, huh? SOPHIA: Any chance to see my Angie! What’re you havin’? ANGIE: Peppers and eggs. SOPHIA: Did you dice the onions? ANGIE: I still use your recipe! SOPHIA: You better. Pause. ANGIE: Hey, Nonna, did you ever second-guess yourself? SOPHIA: Second-guess myself? ANGIE: Yeah, like I just had this big artist in the gallery, and I gave him my best pitch, and he just kinda played games and took off. I should’ve clinched that deal. SOPHIA: Oh, don’t be so hard on yourself! You were born to be a— a— ANGIE: Curator. SOPHIA: That’s right! You remember those messes you used to make in your room when you were little? All that stuff, those collages you’d put on the walls? It drove your mother crazy, but I knew. ANGIE (rolling her eyes): Okay, Nonna— SOPHIA: That’s why I took you to the Metropolitan Museum that day! ANGIE: Had you ever even been there yourself? SOPHIA: No, never! But I thought you should see it! And I knew no one else was gonna take you. ANGIE: Right about that. SOPHIA: I picked you up in Jersey, we schlepped in on the bus— ANGIE: I remember. SOPHIA: And I was right, wasn’t I? You ate it up. ANGIE: Yeah, I caught the bug. But Nonna, why are we talking about /this— SOPHIA (driving to her point): You remember that one painting we saw? The one with the lady all in black, with the big hat— ANGIE: “The Duchess of Alba.” Francisco Goya. SOPHIA: Yes! ANGIE: 1797. The duchess walked into Goya’s studio and told him to put on her makeup and paint a glorious portrait. But he places her in a barren landscape, on the sand. No clutter.

THE SABBATH GIRL – PERUSAL SCRIPT 9

ANGIE (CONT’D): And he doesn’t dress her in high French fashions. No, he makes her a lady of the people. One arm extended downward. Tied to the earth, but even more regal for it. SOPHIA smiles, impressed. SOPHIA: That’s my girl! Well, we were lookin’ at it, and you musta been ten— ANGIE: I was nine. SOPHIA: And you turned to me and said, “Why is she just staring at us like that? With her hand on her hip.” And what did I say? Pause. ANGIE: You said… “Because she’s a powerful woman.” SOPHIA: Yep. “A powerful woman.” (Then) That’s you, my darling. So never second-guess yourself. ANGIE takes this in. Now eat your peppers and eggs. My Duchess of Alba.

THE SABBATH GIRL – PERUSAL SCRIPT 10

4. TSURIS SETH and his older sister, RACHEL, 35, behind the counter at Konig’s Knishes on the Lower East Side, closing up for the day. Rachel wears a headscarf. RACHEL: Where’s your head at? SETH: What? RACHEL: Where was your head at today? SETH: What do /you— RACHEL: You were making wrong change. Giving people fried knishes instead of baked. I mean you’re always a little out to lunch— SETH: Oh, thanks, sis— RACHEL: —but today you’re on another planet. What’s up? SETH: Nothing. I’m good. RACHEL: You’re a great liar too. Pause. They keep closing up. SETH: Something strange happened Friday night. RACHEL: Here we go. What happened? SETH: I needed my AC turned on ’cause it was so hot. RACHEL: Why didn’t you leave it on in the morning? SETH: I didn’t know it was gonna get so hot. RACHEL: Out to lunch! SETH: So I went over to Mr. Lee’s— you know, Mr. Lee— RACHEL: He’s your Shabbos goy, right? SETH: Right. Great guy. Always helped me out. RACHEL: It’s important to have a good Shabbos goy. SETH: But he wasn’t there. He’d moved out. Without telling me, which is weird. And this… woman was there instead. RACHEL: Woman? SETH: Yeah. She just moved in. Angie. RACHEL: Angie. Definitely not Jewish. SETH: No, she’s Italian. I think she’s about my age. She’s a curator. RACHEL: A what? SETH: She works at an art gallery. You know, edgy stuff. RACHEL: I don’t know from art galleries. So did she help you?

THE SABBATH GIRL – PERUSAL SCRIPT 11

SETH: What? RACHEL: Did she turn your AC on? SETH: Yeah. RACHEL: Good. So you’ve found yourself a new Shabbos goy. What’s strange about that? Pause. SETH: When she— when Angie was in my apartment, I realized… it was like the first time I’d been alone in a room with a woman since… the divorce— RACHEL: What’re you talking about? You’ve been alone with me. SETH: You’re my sister. RACHEL: You’ve been alone with customers. SETH: They’re customers. They’re buying knishes. You know what I mean. It’s been like two years— RACHEL: Well, that’s what I’m always telling you, isn’t it?! You gotta put yourself out there again! There are plenty of girls at shul I could introduce you to. What do you think all the unmarried girls are talking about up in the women’s section while the men are downstairs praying? They’re talking about who are the eligible bachelors! And you know what, Sethele [Seth-a- LUH]? You’re still one of them! SETH: Okay— RACHEL: Even if you don’t live in Riverdale anymore. Even if you don’t come to our shul anymore. Even if you are thirty-two and divorced and a little out to lunch. SETH: Thank you. RACHEL: The women up there still remember you. You’ve still got marketable assets— SETH: “Assets”— RACHEL: You’ve got a good knish business and, and an adorably flustered charm— SETH: Rach— RACHEL: —so get back in the game! Lemme just set you up with one of these nice Jewish girls— SETH: I don’t wanna be set up. My marriage was set up. That’s why it was such a fucking disaster! Pause. RACHEL: Seth. SETH: What. RACHEL: You know I don’t appreciate that kind of language.

THE SABBATH GIRL – PERUSAL SCRIPT 12

SETH: Yeah, I /know— RACHEL: I especially don’t like that kind of language in the store. Zayda [ZAY- duh (grandpa)] never allowed it. Dad never allowed it. And neither do /I— SETH: Okay, sorry, but you know it’s true. Mom and Dad wanted me to marry Esther. Esther’s parents wanted her to marry me. It was perfect, right? Same neighborhood, same shul, two nice kids from two nice families. A blessed Jewish union. The only problem was we didn’t love each other. And neither of us had the guts to say it. I know you don’t know what this is like ’cause you and Moishe lucked out somehow— RACHEL: We didn’t “luck out,” we worked at it— SETH: —but do you have any idea how it feels to stand across from your wife in your bedroom on your wedding night and know that she doesn’t wanna be there? And you don’t really wanna be there either? It’s awful, Rach— RACHEL: I know— SETH: —especially when you think she’s a perfectly good person. Just not your person. It’s amazing we made it last as long as we did. Three years. We were miserable. And our sex life— RACHEL: OKAY PLEASE DON’T TELL ME ABOUT THAT— SETH: There’s nothing to tell! It was virtually nonexistent. I mean, sure, we tried for each other’s sakes, but there was no spark— RACHEL: Spark schmark. Spark is overrated. If there’s no spark, you figure out a way to ignite one. SETH: Look, I appreciate your concern— RACHEL: Of course I’m concerned. You’re my little brother. My Sethele. I get tsuris [TSOO-riss (woe)] thinking about you up in that apartment all alone— SETH: I keep busy up there. RACHEL: How do you keep busy? SETH: I read. I read my Yiddish books. Hey, I’ve taught myself Yiddish the past couple of years. That’s something. That would make Dad happy. RACHEL: Dad would be happier if you were married again. SETH: Well, I don’t wanna be set up again. That did not work for me. That nearly ruined my life. RACHEL: Don’t be so dramatic. How else are you gonna meet someone if I don’t set you up? You’re an Orthodox Jew. You’re part of a community. What’re you gonna do, ask out Angie the Italian? SETH: No— RACHEL: Go down to the local Irish pub, meet a nice Catholic girl— SETH: No! I don’t know. I guess I just have to… wait it out.

THE SABBATH GIRL – PERUSAL SCRIPT 13

RACHEL: “Wait it out.” “Wait it out,” he says. Life’s too short to “wait it out,” believe me. SETH: Life feels long to me right now. Pause. RACHEL: Live while you still can, little brother. Live while you can. Thanks for checking out a preview of this script.

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