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L3e'-I0 ;:Td~-Yh£Fia

PENGUIN IIOOU Gmteful acknowledgment is made for permission to reprint excerpts from Pubbshed by the PengufIl Croop the IOlIowing plays: .PenguIn Boob USA Inc.• '1'i?~ 315 HudImi Stnlet. New lbrk. New 'M: 10014, U.S.A. Am I Blue by . Copyright 1982 by Beth Henley. All Inquiries Penguin Boob Ltd. ~ \\\1gbts LIPe. London W8 m. EngLmd concerning rights (other than stock and amateur rights) should be addressed PenguIn Boob AusbaIia Ltd. Rlnpood. Vidoria. Alutnllia to Gilberi Parker, do William Morris Agency, Inc., 1350 Avenue of the Penpla Boob Caeda Ltd. 10 Abm Allenue. 1bronto. Onlado. Canada M4V 382 Americas. New York. NY 10019. The stock and amateur production rights Penpln Boob (N,Z.) Ltd. 182-190 VIWmr &.d. AucIcImd 10. New ZeILmd are controlled exclusively by the . Inc.. 440 park Avenue South. New York, NY 10016. Penguin Boob Ltd. Reptered otBceI: H~, M~. EIIIIaod FInt published In Pen..Boob 1_ the Art of Dln'ng by Tina Howe. Copyright 1980 by nna Howe. Used Publbhed "m~ ill c.n.da by permission of Flom Roberts, Inc. alalf nna Howe. IS 15 17 19 20 18 16 14 12 Adan Shade by Larry Ketron. Copyright 1983 by Larry Ketron. All eop,npt 0 S..... ad I.- Inc.• l_ Inquiries concerning rights (other than stock and amateur rights) should be AD rlPb nIICIl'WICI addressed to Gilbert Parker, do William Morris Agency. Inc.• 1350 Avenue (;AlmON: I'roreuIoIIIII adllllllltetm _ hereby __ thIt the plays of the Americas, New York, NY 10019. The stock 'and amateur production represented In thIt boak _ subject to ••1)'. They _ lUll)' proteded rights are controlled exclusively by the Dramatists Play Service. Inc., 440 under the eopyrf&ht ..... _ the United SCItet _ Amerb, ud _ ell Park Avenue South, New Yon, NY 10016. _ntr!et eoverecI by the Intemattonal CopyrIght Union (1ncIudInt the by . Copyright 10 1978 by H. Pinter Limited. 8y Dominion 01 Caeda ud the rest 01 the Bnum Com~. ud _ ell &fnJ"u eauntrlet tlIMII'I!CI by the ...... Amerbn CopyrIght Conveotfon IIId the Um-.! permission of Judy Daish Associates Ud. CopyrfIht Convention. ad 01l1li eauotrlet with whldt the U~ SIateI .... Beyond Thempy by Christopher Durang. Copyright 10 1983 by Chris­ rereIproctI eopyrf&ht relallon •. AD rlPtI, lacIudinc PI...... 1IIIAIeur, topher Durang. All inquiries concerning rights should be addressed to Helen motion picture, redIItIon. lecturi.... publie I'flIIdInt. 1'1lIIIo ~ teIeYtston. video or sound ...... ell other imn. _ ~bI or eleeamte Merrill, 435 West 23rd Street, New Yon, NY lOOIl. reprodudIon. IIICh .1nbmIHon ....ad retrIeftI tyIIImu ud .... Danl'lr and the Deep Blw Sea by· Shanley. Copyright 1984 mpytn& ud the rtahts- traII__ IatD infp ...... -1btdIy reteI"Ved. PuttcuJ.r empham blDl upon the queItIoa _ ...... by JM.I'I Patridc Shanley. By permission ofJeannine Edmunds, Artists Agency. permlilion b- which mlllt be II!eUI'ed hili the author'. IpIIt In wrItIoI- Inc., 230 West 55th Street, New York, NY 10019. PIps v-x coutftute In extenatoa 01 thIt eop,rf&ht JIIIIII A Dlffef'flrltMoon by Ant Watson. ay permiSSion ofthe playwright. Copy­ UBIWlY or OONCUII CATALOOIIfO III PU8UCA.TIOM DATA right 0 1983 by Are Wahon. The Actor', boak 01 ~ &om _ plays I edited by Eric LIDe ad Domlno Coil,." by Wdbarn Hauptman. Copyright C 1977 by William Nina Shentold. p. em. Hauptman. Reprinted by permission of Samuel French, Inc. "A Smith IIId I.-IDe. boak," the dmmwr nmnItws "" pillow by . Copyright 1987 ISBN 0 140UN819 by John PatricIc Shanley. By permission ofJeannine Edmunds, Artists Agency, 1. AdlaI- II. AmertcIm drama-lOdt amhay. 3. E...... Inc., 230 West 55th Street. New York, NY 10019. dram_10th eentury. I. Ltne, Eric. II. SheapId, NInI. PNI08O.A188 1_ Edl1lOftllby . Copyright C 1983 by David Mamet. Reprinted 1111'.OJ8-dc19 81..3:J:Jag by arrangement with Grove Press. Inc. Pmted In the United StIIM 01 Amertea Set In c.Iedonla Enterftdmng Mr. Slodne by Joe e>rttJ.. CopyrIght C 1964 by Joe Orton. DeIIped by Robert BuD Reprinted by permission of Grove Press. a division of Wheatland Corpom­ tion. Emept ill the United States 01 AmerICI, this boak blOld subject to the oondltlon that It shall not. by way _ bWJe or otherwbe. be lent, rHOId. FOB by David Henry Hwang. C 1982 by David Henry Hwang. hlred out, or otherwlle cImJIated without the publllher'. prior C!08IIeftt In any I'onIt _ binding or __ other than that In whldt II II pubIIIhed ud GeHlng Out by . 0 Copyright 1978. 1979 by Marsha without ••Imllar condition InclucIIna thIt eondftIon beinllmpoted Norman. Reprinted by permission of William Morris Agency, Inc., on behalf of Marsha Norman.

1 45449 NAU: F-BKS l3E'-I 0 ;:tD~-yH£fi A 178 NAU 10/11/00 5038 • • ~ \-/n 0~\5-ro ~e-r ~~ 28 BEYOND THERAPY BEYOND THERAPY 29 Bruce and Prudence are both in therapy. Bruce's therapist PRUDENCE: Thank you. I love the smell ofBrut you're wearing. uses a stuffed Snoopy Dog to bark encouragement. Prudence BRUCE: Thank you. My male lover Bob gave it to me. and her therapist once had an affair, and he is constantly PRUDENCE: What? coming on to her. Prudence and Bruce meet through a per­ BRUCJ1!: You remind me of him in a certain light. sonals ad. This scene takes place in a restaurant and opens PRunENCE: What? the play. BRUCE: ~Wiug hoth .... ,'! acto~. ~:u? PRUDEN: (Rattled. serlom.) I:JOR.tJ::. I air...... ! ilistJt fth the~ (BRUCE is seated, looking at his watch. HE is 30-34, fairly """{1'ause. ) . pleasant looking, probably wearing a blazer with an open BRUCE: I'm afraid I've upset yUU now. shirl. Enter PRUDENCE, 29-32, attractive, semi-dressed up PRUDENCE: No, it's nuthing really. It's just that I hate gay " in a dress or nice skirt and blouse. After hesitating a mo­people. ·f ment, SHE crosses to BRUCE.) BRUCE: I'm not gay. I'm bisexual. There's a difference. PRUDENCE: Hello. PRUDENCE: I don't really know any bisexuals. BRUCE: Hello. BRUCE: Children ate all innately bisexual, you know. If you C1;~i PRUDENCE: (Perhaps ;eferring to a newspaper in her hand­ took a child to Plato's Retreat, he'd be attracted to both sexes. 0' The New York Review of Books?) Are you the white male, PRUDENCE: I should imagine he'd he terrified. ,... 30 to 35, 6'2", blue eyes, who's into rock musk, movies, .... BRUCE: Well, he might be, of course. I've never taken a child 2\. jogging and quiet evenings at home? to Plato's Retreat. '. rn I ' BRlJCF.: Yes, I am. {Stands.} PRUDENCE: I don't think they let you. I,1'.1 r',~.) PRUDENCE: Hi, I'm Prudence. BRUCE: I don't really lcDow any children. (Pause.) Yey ~ BRUCE: I'm Bruce. ..wonded'ul e,e!. 't1ley'r. .0 de.,. ~ I,: ~~~ PRUDENCE: Nice to meet you. PRUDENCE: 'lhaAlt )'M. . BRUCE: Won't you sit down? BRUCE: I feel like I want to take care of you. II ~i' PRUDENCE: Thank you. (Sits.) As I said in my letter, I've never PRUDENCJ1!: (LJ/dng this tack bttte,..) I would like that. My r -

• BEYOND THERAPY 31 30 BEYOND THERAPY PRUDENCE: I don't like men to cry. 1 want them to be strong. PRUDENCE: Oh, I wouldn't like that. BRUCE: You'd quite like Bob then. BRUCE: But I like to cry. PRUDENCE: Who? PRUDENCE: I don't think men should cry unless something BRUCE: You know. falls on them. PRUDENCE: Oh. BRUCE: That's a kind of sexism. Men have been programmed BRUCE: I feel I'm irritating you. ~.'.~>" not to show feeling. PRUDENCE: No. It's just that it's hard to get to know someone. ,~ PRUDENCE: Don't talk to me about sexism. You're the one ." t And the waiter never comes, and I'd like to order. . .~ ~~ who talked about my breasts the minute I sat down. BRUCE: Let's start allover again. Hello. My name is Bruce. BRUCE: I feel like I'm going to cry now. l PRUDENCE: Hello. PRUDENCE: Why do you want to cry? BRUCE: Prudence. That's ~ lovely name. BRUCE: I feel you don't like me enough. I think you're making ~.' PRUDENCE: 1=M:nk yOU. +,1. eyes at the waiter. it. j BRUCE: That's al",el, dre~!). PRUDENCE: I haven't even seen the waiter. , f : -. I PRUDENCE: 'ihsnk 'Od. I-lil,e yetiI' n€clda:t-e. It goes nlt:ely l (BRUCE cries.) witIt ,ddt 1~1 PRUDENCE: (Continued.) Please, don't cry, please. mien hal" ­ BRUCE: (Stops crying after a bit.) I feel better after that. You BRUCE:111M" ,8t1.· I like your nail polish. PRUDENCE: I have it on my toes too. PI.t have a lovely mouth. BRUCE: Let me see. Zt PRUDENCE: Thank you. rn i' BRUCE: I can tell you're very sensitive. I want you to have (SHE takes shoe off, puts foot on the table.) BRUCE: (Continued.) I think it's wonderful you feel free enough my children. t with me to put your feet on the table. ,,( PRUDENCE: Thank you. PRUDENCE: I didn't ppt my feet on the table. I put one foot. 'i., ".~ 1 BRUCE: ))g yaH f~el leady to make a Wihiiliknent? ,;~: ~: I was hoping it might get the waiter's attention. PRUDENCE: I feeJ...l-.need to get to kilO'" yon t,etter. ~'V BRUCE: I feel we agree on all the issues. I feel that you like BRUCE: We agree on everything. It's amazing. I'm going to lto(' rock music, movies, jogging, and quiet evenings at home. I cry again. (Weeps.) think you hate shallowness. I bet you never read People PRUDENCE: Please. you're annoying me. (HE continues to cry.) magazine. PRUDENCE: (Continued.) What is the matter? PRUDENCE: I do read it. I write for it. BRUCE: I write for it too. Freelance actually. I send in letters. BRUCE: I feel you're too dependent. I feel.you want me to put up the storm windows. I feel you should do that. They printed one of them. PRUDENCE: I didn't say anything about storm windows. PRUDENCE: Oh, what was it ahout? BRUCE: I wanted to see Gary Gilmore executed on television. BRUCE: You're right. I'm wrong. We igree. PRUDENCE: Oh, yes, I remember that one. . PRUDENCE:~'~~~!~~f~~t~dbood di4 ¥W! b~ BRUCE: ~mybtJIgh iu An Unmaroed BRUCE: ~1 atr t ynuns. They really ruined me. I don't be~i*'-v~ jD-G6d:an~.1 Deneve in brart·~Teal. It ~? rectal cancer. PRUDENCE: Uhr,~ ~~ BRUCE: Me tcmt We agree on everything. I want to cry Again. NCE:- Yes;I 111m bran cereal.

.. 32 BEYOND THERAPY DANNY AND THE DEEP BLUE SEA 33 i BRUCE: I want to marry you. I feel ready in my life to make PRUDENCE: Absolutely nothing seems to get that waiter's a long-term commitment We'll live in Connecticut. We'll attention, does it? I have two cars. Boh will live over the garage. Everything will (BRUCE shakes his head "no," THEY sit there, sadly.) he wonderful. (Lights fade.) . 'PRUDENCE: I don't feel ready to make a long-term commit­ ment to you. I think you're insane. I'm going to go now. (Stand~.) BRUCE: Please don't go. PRUDENCE: I don't think I should stay. BRUCE: Don't go. They have a salad bar here. Danny and the Deep Blue Sea I PRUDENCE: Well, maybe for a little longer. (SHE sits down John Patrick Shanley ,. again.) BRUCE: You're afraid of life, aren't you? Characters: Roberta (31), Danny (29) PRUDENCE: Well ... Setting: Th~ Bronx ~.: BRUCE: Your instinct is to run away. You're afraid offeeling, Premiere: Circle in the Square, New York City, 1984 Cr of emotion. That's wrong, Prudence, because then you have Publisher: Dramatists Play Service, Inc. o no passion. Did you see Equus? That doctor felt it was hetter John Patrick Shanley describes his playas an Apache Dance, ..... to hlind eight horses in a stable with a metal spike than to "a violent dance for two people, originated by the Parisian 2,- have no passion. (Holds his fork.) In my life I'm not going apaches. Parisian apaches are gangsters or ruffians." I'T1 to be afraid to blind horses, Prudence. Both characters are "violent and battered, inarticulate and PRUDENCE: You ought to become a veterinarian. yearning to speak, dangerouS' and vulnerable." Danny's hands BRUCE: (Very offended.) You've missed the metaphor. are badly bruised and one of his cheeks is cut. He is dark, i . PRUDENCE: I haven't missed the metaphor. 1 made a joke. powerful, and Rnds it difficult to meet Roberta's gaze. Roberta ~' BRUCE: You just totally missed the metaphor. I could never is "physically depleted, with nervous, bright eyes." They meet

love someone who missed the metaphor. in a bar and begin to talk. They are sitting at separate tables. '< 'j) PRUDENCE: Someone should have you committed. BRUCE: I'm not the one afraid of commitment. You are. 1.l PRUDENCE: Oh, dry up. DANNY: You from here? BRUCE: I was going to give you a fine dinner and then take ROBERTA: Yeah. '. you to see The Tree ofWooden Clogs and then home to my DANNY: Where? place for sexual intercourse, hut now I think you should leave. ROBERTA: Right up the block. PRUDENCE: You're not rejecting me, buddy. I'm rejecting you. DANNY: What, you married? You're a real first-class idiot. ROBERTA: Divorced. BRUCE: And you're a castrating, frigid-hitch! DANNY: Gotta kid? (SHE throws a glass of water in his face; HE throws ~ater ROBERTA: Yeah. back in her face. THEY sit there for a moment, spent ofanger, DANNY: Who's takin care of the kid? wet.) ROBERTA: My mother. My mother always takes care ofthe kid. ..

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