Originally presented as a staged reading at the 1997 National Playwrights Conference, Lloyd Richards, Artistic Director, at the Eugene O'Neill Theater Center.
Abingdon Theatre Company reading, up for Christopher Brian Wolk Award 2004.
New Century Writers Award, finalist, 2002.
The Coast Playhouse in Los Angeles. produced by D'Art Productions. summer of 2000.
Chesterfield Film Project, finalist, 1999.
A soldier of fortune, Luke, returns to America to discover that he has a sixteen-year-old daughter, Sylvie. She has gotten involved with gangs and drugs in New York City. He takes her from her mother's funeral out into the woods for his version of rehab. While there he becomes trapped in his memories of the war torn African nation where he first met Angela, Sylvie's mother, and relives their impossible love affair as he is forced to face his own addiction to killing.
LUKE, Sylvie's father, a rough outdoors type. He has an ageless look to him that puts him both around 1980 and present day. Has a slight Mississippi accent. Caucasian-American.
SYLVIE is sixteen, Luke and Angela’s streetwise daughter. Slight Brooklyn accent.
ANGELA, Sylvie's mother is in her mid twenties. Slight Brooklyn accent. African-American. Gentle, yet resourceful.
Set and Sounds:
There is one set that can be literal or stylistic, depending upon the vision of the director. Regardless of the location of LUKE’S “realities,” the need to relay the changes from the African bush to the Catskill Mountains should only be made through sounds and lights rather than any set changes.
There are two types of sounds that are to imply place: the mountains near a river in the Catskills in Upstate New York and the African bush. The African sounds can be types of percussion, rather than the organic representations with a few realistic necessities that relate to story. However, it must be apparent that the change of place in the memory of LUKE is foreshadowed by the changing sounds. I have been literal in the script, but a more stylistic manner can be used.