Originally presented as a workshop production at
Mason Gross School of the
Theatre, thesis production for an M.F.A., Spring 1995.
Finalist at the Chesterfield Film Project, 1998.
In the fall of 1997 it was produced by Heartstone Theatre Ensemble at the
Theatre, New York City.
Katherine, a professional woman in her middle years, has entered a family
planning clinic to terminate her third pregnancy. She
meets a person from her past that brings back unwanted memories from her childhood. These memories in turn cause Katherines two
younger selves from her previous clinic visits to come to life. Her younger personae force her to relive the
reasons for her first two terminations and to look more closely at her present course of
Katherine: Forty-two. 1994. Dressed for late
Winter. Very stylish. Lawyer.
Cat: Early thirties. 1985. Dressed for Fall.
Very trendy/stylish, sexy and allows for free movement.
twenties. 1979. Dressed for early Spring. Nice
comfortable clothes, but not too stylish.
Miriam: (Nurse) Forty-
This is a one set, stylized
clinic. There are three waiting room chairs near the Nurse's desk. There is a large door near the desk. The O.R. doors are scrims. CHARLIE and MIRIAM use this as their only entrance
Across the up stage area is a
series of scrim panels. The
"kitchen" of the apartment is located behind one panel, JESSIE'S "pool
hall" and "apartment" behind another.
The players can slip between the panels for entrances and exits and to play
scenes. The panels go from being transparent
to opaque depending on the scene.
Stage Right is the "LIVING
ROOM" area that consists of an armchair, a large book, and crystal liquor glass on
the floor next to a bottle of Jack Daniels and a small side table stacked with books and
Stage Left is the
"BEDROOM" area with a bed and vanity with mirror facing audience. On the vanity is a telephone, paper weight,
hairbrush and makeup.
During the scenes shifting from
LIVING ROOM to BEDROOM to CLINIC to MEMORY sequences, the women watch and react to all the
action on stage. The men turn up-stage and
maintain in-character movement while the counter scenes are being played. No time has elapsed for the men during the counter
MIRIAM never acknowledges KATIE or
CAT during the entire play. KATIE and CAT
are entirely in KATHERINE'S head.
During the MEMORY sequences, the
entire stage can be used as the playing area for all characters.
Episode One: The
Episode Two: The
Episode Three: The Men
Episode Four: Family Life