Theater Plays

MAN: (gloomy) So the long and the short of it is that all eyes will be on her, and only her.

DIRECTOR: Very well. I’ll try to balance that out.

MAN: Isn’t there some way of getting by without her?

DIRECTOR: I’ve already told you no. Anyway, it’s too late.

MAN: But at least show her as little as you can. Or film it so that she seems even more of a birdbrain, if that’s possible. You can do that. Or cut her out of the shot altogether.

DIRECTOR: You’d best mind your own business and leave my work to me.

WOMAN returns. She has sobered up a little and has even had time to change into a dark, well-tailored suit appropriate for a funeral.

MAN: (cheerfully) Our beauty’s back! We could hardly wait.

WOMAN: I know. That’s why I made it snappy.

DIRECTOR: (in a low tone, to MAN) And you turn out not to be such a bad actor after all.

MAN: (cheerfully) Let’s pull together now, the three of us, and get on with the job.

WOMAN: (to MAN) The consultant’s asking you to step out for a moment. She wants to talk to you.

DIRECTOR: She can wait. We have better things to do than chat. Let’s get down to business.

MAN: (hastily) No, no, I’ll go… I won’t be long. (exits)

WOMAN: Did you see that? He ran to her like an obedient little puppy dog. (with contempt) And they call him a prime minister!

DIRECTOR: But really, why do the two of you kowtow to an assistant?

WOMAN: You can’t guess?

DIRECTOR: I haven’t thought too much about it.

WOMAN: And I suggest that you don’t think much about it going forward either.

DIRECTOR: I don’t intend to. OK, let’s go over your monologue again.

WOMAN: Very well. Although I must confess, I’m tired of it. Where did we stop?

DIRECTOR: We haven’t started yet, if you ask me.

WOMAN stands before the “camera” and is about to say something, but doesn’t utter a word.

What? Still don’t know your part? (prompting) Dear friend!

WOMAN: Dear friend! (glances around, lowers her voice, and speaks in a different tone) Dear friend, while there’s no one else here, I’d like to speak with you.

DIRECTOR: (puzzled) What about?

WOMAN: First, even though I’m a blonde, I’m not as birdbrained as you think.

DIRECTOR: So you say.

WOMAN: You don’t believe it?

DIRECTOR: I do.

WOMAN: If I hadn’t pretended to be a ding-dong, they wouldn’t have brought me into the government. I’d’ve been passed over if I came off as brainy. They’re afraid of competition.

DIRECTOR: Is that all you wanted to tell me?

WOMAN: No.

DIRECTOR: What else?

WOMAN: So, when you were rehearsing with the prime minister, you said that all the cameras at the ceremony will be directed at him.

DIRECTOR: Well?

WOMAN: Why on him and not on me?

DIRECTOR: And why on you and not on him?

WOMAN: Because I’m a woman.

DIRECTOR: And he’s the prime minister.

WOMAN: I thought your answer would be that he’s a man. So believe me, he’s not a man.

DIRECTOR: We’ll not be filming him as a man, though, but as the prime minister.

WOMAN: And what kind of prime minister is he?

DIRECTOR: Who is he, then?

WOMAN: A doll, a puppet, a head honcho in name only, an empty suit. Put in that position for show, as a figurehead, as good TV. But all his work is done by his three senior staffers.

DIRECTOR: For tomorrow’s production, that doesn’t matter at all. More important are his noble head with its graying locks and his velvety baritone. And I’m not authorized to deny him the right to speak.

WOMAN: But can it be done so that only my speech will be broadcast?

DIRECTOR: And what am I to do with his performance?

WOMAN: Drown it out.

DIRECTOR: Drown it out? How?

WOMAN: Well, for example, have a squadron of heavy bombers fly over the square during his speech.

DIRECTOR: That’s a gutsy idea, but I don’t think it’ll quite come off.

WOMAN: Still, I’m asking you to point all the cameras at me and no one else.

DIRECTOR: Why do you need that?

WOMAN: Because I want to be prime minister.

DIRECTOR: You?!

WOMAN: Why not?

DIRECTOR: Hmm… You’re a woman. You’ll find it harder to deliver the goods.

WOMAN: Even in backward countries – England or India, for example – women have been leading governments for ages. Why can’t I?

DIRECTOR: Do you think you’ll do better work than he does?

WOMAN: Why work? I’ll have the same three senior staffers.

DIRECTOR: But you couldn’t even handle Culture.

WOMAN: Who told you I couldn’t? You bet I could! It was very simple. They taught me to talk up the importance of culture and cut down on the money allocated to it. That’s all. And that poor apology for a prime minister doesn’t even know how to put two words together. Do you know why I agreed to let him ravish me?

DIRECTOR: I can guess.

WOMAN: No you can’t. First, he wouldn’t be able to.

DIRECTOR: How do you know that?

WOMAN: (pointedly) I know. Second, he’d be fired immediately afterward, and my approval rating, vice versa, would immediately take off. And then… Who knows?..

DIRECTOR: They’d make you prime minister?

WOMAN: Well, maybe not right away… First, deputy prime minister… But that would be a step in the right direction. Well, are we agreed?

DIRECTOR: On what?

WOMAN: That you’ll do my PR for me.

DIRECTOR: We haven’t agreed on anything.

WOMAN: You shouldn’t say no. I realize that there are no free lunches these days. So you help me, and I’ll help you.

DIRECTOR: How can you help me? Now, if you were in charge of Culture, maybe you’d have something for me…

WOMAN: Do you think your stupid shows for big corporations have anything to do with culture?

DIRECTOR: They might and they might not. But what does your almighty Agriculture have that I might want?

WOMAN: And what might Culture have for you? It’s the most poverty-stricken of all the ministries.

DIRECTOR: Well, for example, a theater of some kind.

WOMAN: You’re a director of huge public spectacles. What would you need a theater for? Why don’t I just send you a herd of horses?

DIRECTOR: Where would I put them?

WOMAN: You shouldn’t say no. Good racehorses are a goldmine. But if you don’t want them, I’ll give you a whole village. With all its farm workers thrown in.

DIRECTOR: What would I do with them?

WOMAN: Be their landlord. That’s what clever people do. It’s every bit as good as investing money in industry.

DIRECTOR: Talking with you is vastly expanding my understanding of morality.

WOMAN: If you think that you can get as far as I have in politics while holding on to your moral virginity, you don’t know anything about life. There isn’t such a big difference between being a political mover and shaker and shaking your booty.

DIRECTOR: You’re insulting the booty shakers.

WOMAN: Maybe you think I won’t be able to handle my role tomorrow. (pointedly) So I agree to let you rehearse me privately.

DIRECTOR: We don’t have time for that anymore.

WOMAN: Why not? (up close and personal) We have the whole night ahead of us.

DIRECTOR: You don’t say.

WOMAN: A long, long night. And the village and the horses, that’s something else altogether.

DIRECTOR: Of course, I’d be flattered to do some night work with a future prime minister, but to be honest, I do have qualms about it. That’s a peak I’ve yet to scale. And besides, I have rehearsals for the ceremony on the square all night.

WOMAN: You don’t like me?

DIRECTOR: A man can’t say no when a woman asks a question like that.

WOMAN: Then what’s the matter? I’m your actress, after all.

DIRECTOR: So what?

WOMAN: I’ve heard that directors always sleep with all their actresses.