Archive for the ‘Schedule’ Category

“db” reviews

In News, Plays, Schedule on January 24, 2017 at 1:47 PM


“A fast-paced roller coaster ride … a fun, action-packed, thoughtful play about what motivates us to do what we do. Who was DB Cooper? We’ll probably never know, but at db, you’ll have a great time speculating.” – Broadway World

Full-throttle thrills … [Smith] delivers a D.B. Cooper tale with the momentum of a highjacking … Buckle in for a gut-level deconstruction that’s riveting, unexpectedly funny and as ambitious as Cooper’s 10,000-foot high-dive from flight 305.” – Oregonian

“A complex yet compelling piece of theater. This heist story [is] deft and diligent – the payoff is great … Do you sometimes wish your theater seat would rumble and quake while the lights flash, briefly transforming the play you’re seeing into an amusement park ride? Then db may be just the play for you.” – Oregon ArtsWatch

An exciting journey … powerful and compelling … it’s something you’ll talk about long after it’s over.” – All Things Performing Arts

Read my introduction to the play from the production.

Playing through Feb. 4 at Coho Theater (Portland), Thu-Sat @ 7:30p, Sun @ 2:00p.

Get tickets here.





GHOST LIGHT plays Bank Street Theatre, March 7 @ 10:30 PM

In News, Plays, Schedule on February 28, 2015 at 3:22 PM


Saturday, March 7 @ 10:30 PM

155 Bank Street (NYC)

no reservations taken – admission is first-come

After the performance of an unrelated play, a lone woman materializes on the set and starts speaking, illuminated only by the ghost light.

Directed by Paul Budraitis

Performed by Hannah Victoria Franklin

Produced by Michael Place & One Coast Collaboration

Special thanks for support from Labyrinth Theater CompanyThe Playwrights of New York


Paul Budraitis (director) is a Seattle-based director, actor, writer, and solo performer, as well as a teacher of acting, stage movement, and interdisciplinary art. He directed the premiere of Elizabeth Heffron’s Bo-Nita at Seattle Repertory Theatre, and his solo performance (IN)STABILITY was commissioned and produced by On the Boards. His production of David Mamet’s Edmond received a Seattle Times “Footlight Award” as one of the best productions of 2010, and with his new company Splinter Group, he created The Salesman is Dead and Gone, a non-verbal imagining of the afterlife of Willy Loman from Arthur Miller’s Death of a Salesman. Paul was the recipient of a State Department Fulbright grant to study theatre directing at the Lithuanian Music and Theatre Academy (LMTA) in Vilnius, Lithuania, where he earned his master’s degree under the mentorship of visionary theatre director Jonas Vaitkus. In Lithuania, Paul worked with the National Drama Theatre of Lithuania, the State Youth Theatre of Lithuania, the Kaunas State Drama Theatre, and Oskaras Koršunovas/Vilnius City Theatre (OKT). He assisted directors Jonas Vaitkus and Oskaras Koršunovas, and as an actor, he collaborated with acclaimed Finnish director Kristian Smeds on a contemporary adaptation of Anton Chekhov’s The Cherry Orchard, which was performed as part of the New Drama Action in Vilnius, as well as in Vienna as part of the Vienna Festival. Most recently, Paul created a new adaptation of Chekhov’s Three Sisters, which he directed at Cornish College of the Arts in October 2014.

Hannah Victoria Franklin (actor) is a Seattle based actress with an MFA from the University of Washington and a BA from the University of Colorado.  She is a member of the Seagull Project which recently performed Chekhov’s Seagull at ACT Theatre in Seattle and at the Ilkhom Theatre in Tashkent, Uzbekistan.  She played Natasha in the 3 Sisters at ACT in 2015.  Hannah is the former Managing Director and Co-Artistic Director of the Washington Ensemble Theatre where she performed in six productions including the world premiere of Tommy Smith’s Sextet as Donna Maria, the world premiere of Tall Skinny Cruel Cruel Boys and co-wrote the script and music for Bed Snake, an original rap opera.  Hannah was a company member of Intiman Theatre’s 2012 Summer Festival launch where she was seen in Romeo and Juliet, Hedda Gabler and Annie Sullivan in Miracle!, Dan Savage’s irreverent adaptation of the Miracle Worker.  She has performed domestically across the United States in Colorado, Idaho, Minnesota, California, Illinois and at New York City’s Carnegie Hall.  Internationally, she has performed in Canada, Russia, Uzbekistan and Japan.  She has taught acting at the University of Washington and Bishop Blanchet High School as well as directed a dozen plays for Red Eagle Soaring Native Youth Theatre where she is currently serving in her fifth year as a board member. Hannah played Sis in Tommy Smith’s WHITE HOT which earned her a Seattle Theatre Writers nomination for Best Supporting Actress in 2012.  She was named Best Actor in Seattle Weekly’s yearly Best of Seattle issue in 2013.

One Coast Collaboration is a culturally driven new play festival that builds bridges between national playwrights and Seattle based theatre artists and companies. OCC takes place over a week at the end of the Seattle summer under flood and torch light, its a break from theatre seats, a festival in which people socialize on blankets instead of a lobby. The festival strives for the work to feel like the beginning of the juiciest secret rather than a final pronouncement. Since 2010, OCC has led to the full production of several new projects including reWilding and Woman at the Well by Martyna Majok, Tall Skinny Cruel Cruel Boys by Caroline McGraw, Moscow, Cheryomuski by Meg Miroshnik, among others.

Labyrinth Theater Company was founded in 1992 by a small group of actors who wanted to push their artistic limits and tell new, more inclusive stories that expanded the boundaries of mainstream theater. In doing so, they created a tightly knit, uninhibited and impassioned ensemble that created incendiary and vital new works for the stage that redefined the landscape of New York City theater. Today, based at the Bank Street Theater in New York’s West Village, Labyrinth is home for diverse theater artists and the daring and visceral work they create. Driven by a diverse group of over 120 actors, directors, playwrights and designers, Labyrinth produces new works for the stage, giving voice to new perspectives that are powerful, groundbreaking and that have changed the face of America’s theatrical landscape. Time Warner Foundation is the lead sponsor for Play Development at Labyrinth. We are also grateful for our newest play development partner, Playwrights of New York (PoNY). Our 2014/15 season includes new plays by Labyrinth Company Members Craig ‘muMs’ Grant, Lucy Thurber, and Melissa Ross and our annual free play reading series, the Barn Series.

Now in its eighth year, the Playwrights of New York (PoNY) Fellowship was founded by playwright Sandi Goff Farkas and LARK Play Development Center, and was created to provide promising emerging playwrights with the financial freedom to create new plays. The first of its kind, the PoNY fellowship addresses the many challenges of living as a playwright in New York City, providing practical support (housing, living expenses and health insurance) as well as more profound considerations such as artistic development and connection to a supportive community. Furthermore, the PoNY Fellowship ensures the continued vibrancy of New York City by keeping some of our most promising artists here, while promoting the type of creative new work that will ultimately enrich the American theatrical canon. The PONY fellows are Eric Dufault, Samuel D. Hunter, Katori Hall, Kimber Lee, Dominique Morisseau, A. Rey Pamatmat & Tommy Smith

“db” at Portland Center Stage’s JAW Festival, July 25

In News, Plays, Schedule on June 13, 2014 at 4:12 PM


by Tommy Smith | Created by Teddy Bergman & Tommy Smith

Thanksgiving weekend 1971. A man calling himself D.B. Cooper boards a plane in Portland, hijacks it for $200,000 at the SeaTac Airport, then parachutes into a snowstorm over Mount Rainier, never to be seen again. “db” brings to life this electric story, showing how the enduring myth of Cooper has created a canvas for regular Americans to act out fantasies of heroism, celebrity, revenge, retribution, and rage.

Directed by Teddy Bergman, “db” will be developed via the PCS JAW Festival over the course of two weeks with other work by Adam Bock, Penny Penniston & Mat Smart.

Friday, July 25 at 8pm

Portland Center Stage (128 NW 11th Ave.)


Read the OREGONIAN article about JAW Playwrights Festival.

Read the HIGH TIMES article on D.B. Cooper.

WHITE HOT plays Flea Theater, April 26 – May 26

In News, Plays, Schedule on April 3, 2013 at 12:22 AM


April 26 – May 26
Fridays and Saturdays at 10pm
Sundays and Mondays at 7pm

Tickets are $15 – $20 – $30
Lowest priced tickets available on first come first served basis

Additional Performances:
Tuesday, May 7 at 5pm
Wednesday, May 8 at 5pm
Thursday, May 23 at 10pm


“[Tommy Smith] is writing in the shadow of our most daring and politically incendiary of martyred playwright saints, Sarah Kane and Edward Bond … White Hot is bleak terrain, a buried cesspool of self-loathing and unseemly, sadistic yearnings in love. The play can be read as a critique of the deadening fallout of our reactionary, materialistic, exploitative and soulless era. It can be read as a bad dream or a soap opera about the banality of evil. However you read it, it doesn’t go down easy.”
– Craig Lucas, New York Theatre Review


Buy the play.

NECTARINE EP plays Flea Theater, Feb. 8-24

In News, Plays, Schedule on January 30, 2013 at 7:00 PM


A sonic retelling of drugged seduction in Homer’s The Odyssey — filtered through the lens of Internet fetish, Native-American menstrual cycles, and Icelandic volcano rituals for disposing of the elderly – the audio-fueled “extended play” NECTARINE EP de-stimulates of the audience’s perception through visual and auditory manipulation.


click this to get tickets

watch a clip by clicking here

LOTUS EATERS EP plays IRT Theater, Jan. 6-12

In News, Plays, Schedule on December 11, 2012 at 6:35 PM


Not a conventional performance, LOTUS EATERS EP  — an audio-fueled “extended play” — is a hallucinatory sonic experience about loneliness, depravity, and the intrinsic failure of all human contact.

click here for tickets


In News, Plays, Schedule on December 3, 2012 at 7:58 PM

The following text was performed at The Flea Theater, November 15-17, as part of Serials, an episodic late night theatre event where the top three (of five) serialized stage plays return the following week. The final installment, Episode Seven: Adirol, will play December 6-8 @ The Flea.







(with American accent) Mesdames et Messieurs, au début de 2003, Marché aux puces, directeur artistique Jim Simpson a fait une série d’entretiens avec NPR à propos de ses expériences largement relatés avec des narcotiques dans ses premiers jours. Ce qui suit est une reproduction d’un de ces entretiens. (with French accent) Ladies and gentlemen, in early 2003, Flea Artistic Director Jim Simpson did a series of interviews with NPR about his widely chronicled experiments with narcotics in his early days. The following is a recreation of one of those interviews.


Marisa Tomei filing her nails.

Sigourney watches out the window.



Sigourney don’t worry.



Did you hear from them?



They’re on their way in a cab.



Seven minutes.


Oh God you and I are gonna end up kissing each other.



Hope you brushed your teeth.


Yeah and I flossed too, see?



Yes, Marisa, you have perfect teeth.



I brush three times daily.



Whatever. Want some cocaine?



We should wait for the boys.


Fuck that.



Yeah, I see your point.



I’m not facing 1973 sober.



I will start rolling this ten-dollar bill I seem to be holding into a money straw for our noses.



You don’t have a small mirror, do you?



No see because my hair’s so big?



Uh huh.



I only buy gigantic mirrors.



I can use this Styx album.



Only if you take the album out and play the last song on side B.



I hate Styx but because I love you I will endure.


“Aww and the academy award goes to Meryl.”



Don’t – don’t say her name in front of me.

MUSIC: Styx, “Best Thing”





Dingo ate her fucking accent.



Now now. This isn’t Yale.



Five minutes.



Better ski fast.



You really like this song?



It puts me in the mood.


A moment where

Marisa swings to the song and

Sigourney cuts up the coke.

This can take some time,

and should be sweet and nostalgic.



Another fucking year.






Seventy two bites dust.



Got any resolutions?



Break up with Walken.



Wow you didn’t even pause for one moment.



Walken’s funny. And I love it when he unnecessarily emphasizes gerunds. But …



Oh I like him.



You dated him.



It was only three months.



Did he give you herpes? (snorts cocaine)



… No?



He gave me herpes.






Maybe I already had herpes.






I probably gave him herpes.



It’s really bad luck to say that out loud.


What, herpes?



It’s like bed bugs.



Ew, don’t say bed bugs.



Or S-T-R-E-E-P. Certain words conjure the devil. (snorts cocaine) Nostril two?



Just to even them out.



(presenting the straw ceremonially) Madam, your sceptre.



Thank you my liege.



You’re really pretty.






You’re the prettiest woman I know.



Thank you. (snorts cocaine)



You’re supposed to say as a woman I’m pretty.



(sniffing) Hn? Oh fuck I was –



– preoccupied –



– no I was just feeling the sensation of liquid dripping down the inner wall of my throat.



It’s good, right?


I can’t believe this stuff is legal.



Har har.



Where’d you get it?





Ooh, your lover boy.



Yeah, right. (snorts cocaine) He’s sleeping with other women.



That’s the deal.






Chris told me that’s the deal you and Jim have.



Oh an “open relationship”?






You see me dating anyone else?



Aside from Vibey the vibrator?



Oh Vibey died.


(tragic) Oh no.



He burnt out his little motor.



We should have a funeral.



Oh that’s a really good idea.



Yeah tomorrow New Years Day first thing we should put Vibey in a little shoebox and we can get Chris and Jim to dig a little hole and I can read a Tennyson poem.



We’re not doing shit tomorrow. (snorts cocaine)



Hey out of turn.



We’re waking up at two, earliest.



Ugh, I’m gonna have to fuck him. (snorts cocaine)



It’s the New Year.



Fucking your boyfriend on New Year’s is like getting a sweater for Christmas.



Oh Jim’s not my boyfriend.



Sorry, your man friend.



My romantic male partner who can’t seem to make up his fucking mind.









Use time.



Use … time.



Time is the best way to snag a guy like a man makes a decision like a slow-motion explosion especially guys like Jim guys smart guys in their heads who need to be coaxed out of their fear corner like a puppy from a dog house?



(realizing) Gentle.



“Come here little guy.”



“Come here little sweetie.”



“I just want to pet you come to mommy.”



“Mama wants to pet you so be nice to mommy.”



“Momma’s gonna treat you right little pupster.”



“Little sweetums.”



“My sweet little snoogums.”



What are you guys doing?

Jim and Chris have entered.



“Ooh look Siggy look it’s our little guy Jim.”



“And his little friend Chris.”






Yeah our taxi got held up on Broadway.



Tho’ much is taken, much abides; and though we are not now that strength which in old days moved earth and heaven; that which we are, we are; one equal temper of heroic hearts, made weak by time and fate, but strong in will to strive, to seek, to find, and not to yield.



Jim, Sigourney’s really fucking high.



So’s your girlfriend.



(has been air drumming in a corner to Styx)



It’s a toss up.



I’m sorry but your girlfriend is obviously much higher than my girlfriend.



Oh God, twenty seconds.



Wait say that last sentence?                                            



“Your girlfriend is much higher than my girlfriend.”



Well she is.



“My girlfriend …”



Babe, your lipstick.



I like it smeary.



Ten seconds.



Nine. Eight.



Seven. Six.



Five. Four. Three. Two. One.


Sigourney kisses Jim ravenously.

Chris kisses Marisa.

After five seconds, Marisa starts coughing.



Babe. Wow. Coughing. Okay. Water? Glass. Kitchen. Hallway.


Chris leads Marisa off.

Sigourney kisses and kisses and kisses her boyfriend.


In News, Plays, Schedule on November 23, 2012 at 7:41 PM

Click here for tickets

Direction and text by Tommy Smith.

Original music and soundscapes by Reggie Watts.

Featuring the voices of Neil Gaiman (Sandman, American Gods),Reed Birney (Blasted, Picnic), Marin Ireland (Nocturne, Blasted),Mary Jane Gibson (The Wife).

Not a conventional performance, LOTUS EATERS EP  — an audio-fueled “extended play” — is a hallucinatory sonic experience about loneliness, depravity, and the intrinsic failure of all human contact.

Arranged, mixed and mastered by Michael McQuilken. Additional music by John Osebold and Michael McQuilken. Visual imagery by Fette Sans. Live video projection and design by Lucy MacKinnon.

Performance: January 6, 2013 @ 2:00 & 3:30pm; January 12 @ 2:00pm
Ticket Price: $18 (with free download of LOTUS EATERS EP)
Location: IRT Theater, 154 Christopher st. #3B (third floor)
Running time: 1 hour

Click here for tickets

(image by Fette Sans)


In News, Plays, Schedule on November 12, 2012 at 8:30 PM


The following text was performed at The Flea Theater, November 8-10, as part of Serials, an episodic late night theatre event where the top three (of five) serialized stage plays return the following week. Episode Six: Cocaine will play November 15-17The Flea.














VOICEOVER :         (with American accent) Mesdames et Messieurs, au début de 2003, Marché aux puces, directeur artistique Jim Simpson a fait une série d’entretiens avec NPR à propos de ses expériences largement relatés avec des narcotiques dans ses premiers jours. Ce qui suit est une reproduction d’un de ces entretiens. (with French accent) Ladies and gentlemen, in early 2003, Flea Artistic Director Jim Simpson did a series of interviews with NPR about his widely chronicled experiments with narcotics in his early days. The following is a recreation of one of those interviews.

JIM:         It was during a period Sigourney was dating Walken.

WALKEN:                           Hey.

SIGOURNEY:                  Sorry Jim.

JIM:         I had gotten a grant to develop an experimental theatre piece using source material from some semi-relevant book of the bible and the Greek myth of Orpheus.

WALKEN:         You know, the myth where a lover loses his way in the underworld trying to find the image of his lover?

JIM:         I had to produce the show in a European city of my choosing.

TATIANA:                  I would obviously choose Amsterdam.

WALKEN:                  That was the obvious choice.

JIM:         Sigourney was in Moscow while Walken shot exteriors for that terrible Bond movie no one remembers.

TATIANA:                  I was bitter.

JIM:                  (on phone) Come to Amsterdam baby.

SIGOURNEY:                  No Jim I’m with Chris now.

JIM:         I’m at JFK right now and I swear I’ll buy you a ticket if you come back to me.

SIGOURNEY:                  Are you still seeing all those other girls?

JIM:         Maybe.

SIGOURNEY:                  Goodbye Jim.

FLIGHT ATTEND.:         Sir?

JIM:                  Hmn?

FLIGHT ATTEND.:         Are you crying in this airplane’s bathroom?

JIM:                  Yes.

FLIGHT ATTEND.:         We’re about to land in Holland.

TAXI DRIVER:                  Sir?

JIM:                  Yes?

TAXI DRIVER:                  Welcome to my taxi.

JIM:                  Thank you so much.

TAXI DRIVER:         Perhaps instead of crying you could give me the address of your hotel?

JIM:                  Nothing matters now.

HOTEL CLERK:                  Welcome to The Hotel Windmill, sir.

JIM:                  Sigourney liked windmills.

HOTEL CLERK:         I’m assuming from your weeping that would like to know the nearest location to smoke weed?

TALL HOST:                  Hello.

JIM:                  She seemed remarkably tall.

TALL HOST:                  Goedemordag.

JIM:                  Hi.

TALL HOST:         I am your host Annika Mule-en-dyke for this city of Amsterdam.

JIM:         Mmm hmm.

TALL HOST:         We will see the theater but first would you like to have some bitterballen before we go to the Vondelpark for afternoon appletaart?

JIM:         Yes.

TALL HOST:         And then maybe later we will see the theater with our technician Otto?

OTTO:         Hello!

TALL HOST:         Oh there is Otto now, arriving on a bike.

OTTO:         Come let us go to the theater!

JIM:         You guys are speaking English.

TALL HOST:         Yes, of course.

OTTO:         We prefer it.

TALL HOST:         (to Otto) We spreken onze talen.

OTTO:         (to Tall Host) We spreken onze talen, of we doen alsof!

JIM:         Please don’t do that.

TALL HOST:         Yeah, just joking.

OTTO:         Our language is terrible and we apologize.

SIGOURNEY:         Jim, your agent told me where you were staying and this is a postcard from Russia and I’m about to run out of room and Chris wants to say hi –

WALKEN:         Hey.

SIGOURNEY:         I miss you.

JIM:         You do?

SIGOURNEY:         Platonically.

JAMAICAN MAN:         Sir, you have reached your daily five-gram limit of marijuana.

JIM:         Hn?

JAMAICAN MAN:         I will have Lars our delivery boy drive you home.

LARS:         Come sit on my handlebars.

JIM:         I’m not going to do that.

LARS:         Riding a bicycle in an incredibly dangerous fashion is Dutch tradition.

JIM:         Yeah, so are hookers.

LARS:         You want to see the hookers?

JIM:         And suddenly we were looking at hookers.

LARS:         I have to walk into this store for a moment.

JIM:         And Lars disappeared.

TATIANA:         Tap tap tap.

JIM:                                    Oh hello.

TATIANA:                           I have a secret for you.

JIM:                                    For me?

TATIANA:                           Yes, come a little closer.

JIM:                                    She looked like Sigourney.

WALKEN:                           I could smell her skin.

TATIANA:                           Roses and windex.

WALKEN:         The glowing blacklight behind her circling her head like a halo.

TATIANA:                           She tells me the price and I tell her

JIM:                                    That seems fair.

SIGOURNEY:                  I think of my mother for a moment.

JIM:                                    I imagine what she’s doing now.

MOM:                           Jim?

JIM:                                    Hn?

MOM:                           Jim will you empty the dishwasher?

TATIANA:                           Are you nervous?

JIM:                                    No.

WALKEN:         The woman, whose name is –

TATIANA:         Tatiana.

JIM:         Tatiana takes my hand and leads me down a neon pink corridor.

TATIANA:         It opens up into a black-tiled room with a white bed.

WALKEN:         We sit next to each other on the bed.

JIM:         I don’t know what to do.

WALKEN:         With a lover I try to comfort her with my body then whoops, we’re having sex.

SIGOURNEY:         But Tatiana’s playful exterior soon gives way to a business-like demeanor.

TATIANA:         You have fifteen minutes from when you enter this door to when you put your clothes on and leave.

JIM:         I quietly undress.

TATIANA:                           You have HPV.

JIM:                                    Huh?

TATIANA:         Here look at your dick do you mind if I hold it?

JIM:                                    Oh hey –

TATIANA:         Look at the end of your dick here. You see these spots?

JIM:                                    Yeah I just thought those were scratches.

TATIANA:         No man these are warts you should go to the doctor.

JIM:                                    How did you know?

TATIANA:         I’m a sexual health teacher. You’re gonna have to take an antibiotic.

JIM:                                    So what does that mean, what do these mean?

TATIANA:                           We wear a condom.

WALKEN:         She gives me a blowjob.

SIGOURNEY:         The radio blares Dutch ads, the Klingon language distracting from the task before me.

WALKEN:         I reach my hand down to fondle the back of her head and she says

TATIANA:         No uh uh

WALKEN:         with my dick in her mouth, looking in my eyes.

SIGOURNEY:         I tell her to fuck me.

TATIANA:         I ask if I can fuck her from behind.

WALKEN:         She says no then mounts me.

JIM:         I lose my concentration when Alanis Morisette’s “Ironic” comes on the radio.

TATIANA:         As the first chorus rises I come.

SIGOURNEY:         My sight is bleary and the purple blacklight makes Tatiana, who kneels beside me, looking like a 40s starlet through a smeared neon lens.

WALKEN:         I walk outside its midnight.

JIM:         I read somewhere – maybe on the travel guide on the flight – that the entirety of the Dutch nation exists fifteen feet below sea level.

WALKEN:         Which would technically make it the underworld.

JAMAICAN MAN:         That’s why they call it the Netherlands.

JIM:         Man I’m just putting this together now.

JAMAICAN MAN:         This is hell, brother.

JIM:         Could I please get another hash cookie?

JAMAICAN MAN:         Looks like you’re all out of money.

JIM:         Shit.

JAMAICAN MAN:         There’s a payphone in the back.

JIM:         (on phone) That’s what I’m saying.


BANK TELLER:         Sir there’s nothing we can do right now.

JIM:         I just need you to wire over one thousand dollars.

BANK TELLER:         Sir it is 4 a.m. in Holland –

JIM:         Uh huh and I need that money right now


BANK TELLER:         I’m not going to ask what a grown man who shares a checking account with his girlfriend is doing in Amsterdam.

JIM:         I’m here on research


BANK TELLER:         Good night sir.

JIM:         It’s morning No don’t hang up FUCK (hits receiver against phone booth) FUCK (hits receiver) FUCK (hits) FUCK!

COP:         Tap tap tap.

JIM:         Yes?

COP:         Yeah, we are here to arrest you?

WALKEN:         I was surrounded by eight cops in riot gear.

JIM:         I was just making a phone call.

COP:         Yeah well you are screaming in the street and have smashed this phone into pieces.

SIGOURNEY:         I looked down at my left wrist.

JIM:         I’m bleeding.

COP:         Yeah you see a large shard of phone plastic has cut your artery open?

SIGOURNEY:         A maroon blood bubble slithered from the open slit.

JIM:         It was dark for a while.

WALKEN:         Then I woke up next at the police station.

COP:         Sir we have bandaged your cut.

JIM:         … Thank you.

COP:         We are thinking that we let you go and in exchange you never come to our country again?

JIM:         Deal.

The opening strains Alanis Morisette’s “Ironic.”

SIGOURNEY:         Hey.

JIM:         … Hey.

SIGOURNEY:         You look bad.

JIM:         You’re in Russia.

SIGOURNEY:         I flew in.

JIM:         Why?

SIGOURNEY:         On your passport application I’m your emergency contact.

JIM:         Fuck, I should have changed that.

SIGOURNEY:         Fuck you don’t change it.

JIM:         No?

SIGOURNEY:         You’d die without me.

JIM:         Where’s Walken?

SIGOURNEY:         They have to re-shoot the scenes where he’s laughing.

JIM:         So … ?

SIGOURNEY:         I’m just here to pay your bail.

JIM:         …

SIGOURNEY:         What happened?

JIM:         Hm?

SIGOURNEY:         What happened to your hand?

JIM:         I cut it.

SIGOURNEY:         I don’t wanna know what you were doing here.

JIM:         I was working on theatre.

SIGOURNEY:         You know what I mean.

MOM:         Jim?

JIM:         Yeah mom?

MOM:         Did you unload the dishwasher?

JIM:         Yeah in just a sec.

MOM:         Because we need those dishes for dinner.

JIM:         Yeah mom just – just give me a moment.

Jim and Sigourney stare into each other’s eyes,

waiting for the other to say the next word.


The chorus of “Ironic” kicks in.

(“It’s like RAIIIIN …”)


Lights fade.

DEMON DREAMS plays West of Lenin, October 18 – November 10

In News, Plays, Schedule on October 5, 2012 at 3:38 PM
“[DEMON DREAMS] feels a bit like you went to a children’s theater because you were babysitting your nephew, and then everyone decided to bring their A-game and also mess up the end of every story. Limbs and voices twist; the inanimate (fire, trees, rain) is animated … and the actors charge in with brio.”
– The Stranger
In a future where demons rule the earth, three demons and three immortals gather in a broken down temple to tell stories and spit rhymes about the goodness and wickedness of the human race. Starring 6 actors in over 50 different roles, Demon Dreams fuses traditional Japanese story-telling with a hip hop aesthetic to bring you a fast-paced, enchanting allegory about the complexities of human nature.

Click right here to see Larae Lobdell’s DEMON DREAMS cast photos for the West Of Lenin production.