For additional information and perusal copy contact
the author at george@georgeholets.com
Three Dykes, One of Whom
Is a Man
—a farce about Relationships, gender,
and orientation
Place: An upscale plastic/reconstructive
surgery clinic.
Time: The present
Cast of six, three men and three woman:
THEA: A reconstructive/plastic surgeon,
forty-eight.
LORRAINE: A reconstructive/plastic
surgeon, Thea’s older sister, fifty-one.
FORD/FRIEDA: A reconstructive/plastic
surgeon, Thea’s husband, fifty-three, but could
pass for forty.
SQUEEZE: A mid-to-late twenties man
guided by passion rather than rationality, who thinks
through his gonads. The larger part of him is without
words—an animal or savage. He spends much of
the play in chains at THEA's behest and for HELGA's
pleasure.
HELGA: A sexy thirty plus year old
nurse referenced in the script as possessing long,
lean, efficient Danish legs.
TUK: A sex reassignment/reconstructive/plastic
surgeon, cross dresser, bisexual man from Thailand,
early forties.
Length: 125 pages, 11 scenes, 2 hours
running time
Set: Office/reception area of the clinic.
It includes several computers, abundant mirrors, doors
(2 minimum, the more the merrier) to various consulting
rooms and offices, and a closet appropriate for scene
4.
Synopsis:
The action of Three Dykes, One of Whom
Is a Man occurs in a family run plastic
surgery clinic. The rubric of conventional sexual
orientation is overthrown against a background of
continuous body modifications, and each of the characters
goes through a range of sexual permutations, arriving
at the end, a changed but presumably better person
for the adventure. Thea and Ford/Frieda begin the
play dissatisfied with their 25 year marriage, and
fighting over the presence of Squeeze. Squeeze, who
thinks through his gonads instead of his head, looks
for a new face so he can stop running from the law.
Lorraine lonely from the recent break up of her long-term
relationship with Roz wants a new lover, while Tuk
and Helga mainly interest themselves with sexual high
jinxes—theirs and everyone else’s. It
is a comedy so there is a happy ending for everyone
although the story gets dark at times. It has some
erotic moments on stage, some nakedness off stage,
and some explicit and lewd language both places so
it is for mature audiences.
Blessed
Assurance
—a fiber optic farce
Cast of 4: two men, two women. Unit
set.
Script under revision, available soon
Boronga
Kazi
—a comedy of cultures
Cast of 10 (37 characters): six men,
four women
Script under revision, available soon
M/21 Bellevue
—The comic struggles of a man vacillating
between sexual repression and his desire for the male
bus driver.
Place: M/21 cross town bus. Route
travels Houston and up Avenue C to Bellevue Hospital.
Time: The present
Cast of three, two men, one woman:
Stanley: A man settled and old enough
to have 2.5 children
Razynski: A male bus driver
Margaret Stanley’s wife/alter ego:
She is ephemeral and divides her time between home
in Jersey and the inside of Stanley's head. She remains
on stage reacting to, or acting with Stanley the entire
play.
Length: 27 pages, one scene, 36 minute running
time
Set: A bus driver's seat and steering column
designed to swivel so the bus can change axis on the
stage. Also useful to the set is a section of standee
hand rail or several hand straps.
Synopsis:
At rise in M/21 Bellevue,
Stanley races for a bus as it pulls away from the
stop, catching it at the red light. He is aboard with
some angry words to the driver. Once he’s settled,
he realizes that the driver is the man who made his
knees go weak in the ShopRite some weeks past. The
man Stanley has searched for, ever since. The driver
calls Stanley on his staring, and a three part conversation
ensues between Stanley and the driver, Stanley and
his wife, and Stanley and himself as the bus crosses
Manhattan headed for Bellevue. Stanley examines his
love, his relationships, and his desire; and as the
bus heads up Avenue C toward the end of the route
resolves to make his feelings known to the driver.
He does and is queer bashed by the driver even though
they have been making eyes at each other during the
course of the play.
God’s
Pants Too Huge
—a romantic comedy featuring drug, poverty
and sexual orientation issues
Place: New York City. Upper Eastside
at a space by the river.
Time: The present
Cast of six, three main characters, three
walk through police:
Fairy Dust: A male to female transgendered
dressed as a woman.
Albert: A white one-legged homeless
man.
Frog: A younger black homeless man.
Three Cops: The police facilitate
the play’s action, and should provide a sense
of authoritarian oppression.
Length: 44 pages, 3 scenes, 48 minute
running time
Set: A cardboard refrigerator box
and a park bench. Perhaps slide projections of NYC.
Synopsis:
God’s Pants Too Huge
focuses on the 3 necessities of human life—food,
shelter, and sex—at the low end of the economic
continuum. At rise and as prologue, Fairy Dust enters
throwing confetti a.k.a. fairy dust over the appliance
box as if to enchant, introduces the liturgical colors,
then herself, and is hustled away by cops. Albert
enters and claims the appliance box for the night,
Frog returns claiming the box as his. They fight joining
together against Fairy Dust when she steals Albert’s
bag of empty cans. Fairy Dust brings a settled domestic
quality to their camp. They begin thinking about bettering
themselves, and start preparing for a future together
in an apartment. Suddenly, the cops sweep into the
camp busting it up and beating the men. After the
maelstrom the stage is empty save for Albert and Frog.
Albert’s clothes are in taters. Frog is naked.
Fairy Dust tosses a pair of huge gold lamé
pants on stage, the men pull them on to cover their
nakedness—one in each leg, Albert and Frog confess
their feelings towards each other, as Fairy Dust appears
cruciform in gold lamé loincloth and bra against
the upstage wall. Yes there are Christian overtones,
however the play takes a different spin form the religious
right and is for mature audiences.
Going
Postal
—an action comedy about the thankless
pressures of being a small cog in the man’s
wheel.
Place: A grimy, gray lunchroom in
a large, old metropolitan post office.
Time: The present
Cast of three, two men, one woman:
JOAN: a middle aged postal employee
LYLE: a middle-aged postal employee
SIMON: a slightly younger than LYLE,
deeply depressed postal employee
Outsiders 1 & 2: walk-ons played
by SIMON
Length: 16 pages, one scene, 20 minute
running time
Set: Grey steel case lunchroom table
with chairs and a pile of canvas mail sacks.
Synopsis:
Postal employees Lyle and Simon are literally Going
Postal. They commandeer the lunchroom and hold it
throughout the play until Lyle and Joan make their
escape at the end. (Simon is one of the action’s
casualties.) The play’s characters travel very
broad arcs. In particular Lyle goes from a depressive
in a homosexual relationship with the more deeply
depressed Simon to un-depressed heading into a heterosexual
relationship with Joan after just a bit of mayhem.
Some folks have suggested it should be much longer
to accommodate all the character change, but with
actors who can portray the nuances and turn beats
on a line, it works fine. It goes from death to life,
gray to Technicolor.
|