A PRODUCTION OF MARK MEDOFF'S

WHEN YOU COM N BACK,

RED RYDER?
by
S u s a n Marie B a r r e t t ,

B.F.A.

A THESIS
IN
THEATRE ARTS
Submitted to t h e G r a d u a t e F a c u l t y
of T e x a s T e c h U n i v e r s i t y in
P a r t i a l Fulfillment of
t h e R e q u i r e m e n t s of
t h e D e g r e e of
MASTER OF ARTS
Approved
,/!

Chairman of t n e Committa^

Accepted

'you/
Dean of t h e G r a d u a t e School

December, 1981

/ '''9"!

ACKNOWLEDGEMENT
I am deeply i n d e b t e d to P r o f e s s o r s Ronald Schulz and George
S o r e n s e n for t h e i r helpf ul criticism, advice and direction in t h e p r e p a r a t i o n of this t h e s i s , both in t h e p r o d u c t i o n and t h e r e c o r d i n g s t a g e s .
I would like to acknowledge t h e cast and p r o d u c t i o n p e r s o n n e l for t h e i r
dedication to t h i s p r o d u c t i o n of When You Comin B a c k , Red R y d e r ? .
I woiild also like to acknowledge Donna D e e r i n g for h e r clerical a s s i s t a n c e with t h e p r e p a r a t i o n of this document.

11

TABLE OF CONTENTS
ACKNOWLEDGMENT

ii

PREFACE

LIST OF FIGURES

vii

CHAPTER
I.

RESEARCH

Mark Howard Medoff, When You Comin B a c k , Red

Ryder?

T h e Milieu
II.

10

CASTING, REHEARSALS, PERFORMANCE

Acting T h e o r y

15

Auditions and Casting

20

Rehearsals

27

Company Agreements

27

Exploration E x e r c i s e s

28

Ensemble

36

Developing t h e Script

39

C h a r a c t e r Development
Polish Rehearsals

49
59

Performance
III.

15

59

DESIGN

61

Costumes

61

Scene Design

61
iii

IV.
V.

Light Design

o^

Sound

63

Properties

63

PROMPT BOOK

65

EVALUATION

285

BIBLIOGRAPHY

287

APPENDIX

289

A.

PRODUCTION PHOTOGRAPHS

290

B.

NEWSPAPER REVIEWS

303

IV

PREFACE
Mark Medoff's play When You Comin Back, Red Ryder? is a study
of the social turmoil of the sixties in America.

The theme of the play

expresses the heart of that conflict, the individual's search for identity,

Because of the individualized nature of the social conflict in that

era, the play needs to be presented in a realistic acting style.

The

credibinty given the characters on stage is the eventual impact of the

play.
The principal directorial analysis of the script prior to the rehearsals of When You Comin Back, Red Ryder? was the determination of the
appropriate acting style.

The director's preparation was restricted to

this consideration in order to investigate the theory that the author's

intent could be more clearly fulfilled by developing the interpretation
of the play from the rehearsal process itself.

This approach to When

You Comin Back, Red Ryder? placed the focus of determining choices
on the elements of the script and the individuality of each actor rather
than on directorial preconceptions.
This directorial condition required new procedures to be developed
for auditions, casting, and rehearsals.

Considerations for selecting cast

members in auditions were confined to identifying the intrinsic uniqueness of individuals involved in the audition process.

Further, the ini-

tial work in rehearsals was structured on a highly individualized basis

so that each actor's previous training and personal goals were evaluated
and incorporated into the developing production.

Therefore, to best

facilitate progress in the work, the scheduling of specific rehearsal

activities was designed around the expressed needs of each actor.

By

formulating relationships on stage from the actual personaHties of the

cast members rather than from assumed characterizations, an ensemble
was developed which suppHed a unifying core for the individual efforts.
As the actors became more secure and confident in personal choices
with respect to their own role interpretations and as they developed an
aptitude for spontaneous interaction with each other, a more traditional
relationship in working with them was utilized to add the elements of
appropriate staging, pacing, and focus.

Further unification of the pro-

duction was achieved by using this more structured approach.

In performance the actors in this production of When You Com.in
Back, Red Ryder? created a state of life on the stage which included
not only the life drawn in the script but also the infinite colors of
their own life experiences.

This style of acting developed in rehears-

als allowed a high degree of consistency in characterization during the

nine nights of performance.
The following document is a record oi the stages in this production of When You Comin Back, Red Ryder?.

It includes a study of the

background of the author, the history of the play, the miHeu, and an
explanation of the acting style, auditions, casting, rehearsals, and performance.

Also included are a complete copy of the prompt script, an

account of the design conferences, and an evaluation of the production,

as well as some production photographs and reviews.
VI

LIST OF FIGURES
1.

S t e p h e n d a y d r e a m s about a " C o r v e t t e Sting R a y . "

292

2.

T e d d y forces S t e p h e n to explain his tattoo

294

3.

Richard and Clarisse after Richard is shot

296

4.

T e d d y t e a s e s Angel about being fat

298

5.

Lyle r e f u s e s to d a n c e

300

6.

Mr. Clark exits with C h e r y l

302

vu

CHAPTER I
RESEARCH
Mark Howard Medoff
"When You Comin B a c k , Red R y d e r ? "
Mark Howard Medoff was b o r n in Mt. Carmel, IUinois, on 18 March
1940.

He grew up in Miami B e a c h , Florida.

In 1962 he r e c e i v e d his

Bachelor of A r t s in English from t h e U n i v e r s i t y of Miami. He completed

g r a d u a t e s t u d i e s in English in 1966 at Stanford U n i v e r s i t y and received
a Master of A r t s d e g r e e .

In t h e faU of t h a t y e a r , Mark Medoff accepted

t h e position of English i n s t r u c t o r at New Mexico S t a t e U n i v e r s i t y at Las

Cruces.

He continued his t e a c h i n g c a r e e r in English until 1974, when

h e became dramatist in r e s i d e n c e at New Mexico S t a t e U n i v e r s i t y .

Mark

Medoff became t h e Head of t h e Drama D e p a r t m e n t in 1978 and a fuU

p r o f e s s o r of drama in 1979.

Mark Medoff has w r i t t e n t h e following p l a y s :

Machinations, Doing a Good One for t h e Red Man, T h e Wager, When You
Comin B a c k , Red R y d e r ? , T h e Halloween B a n d i t , T h e Conversion of
2
Aaron Weiss, T h e K r a m e r , F i r e k e e p e r , Children of a L e s s e r God and

^Who's Who in America 1980-81, 41st e d . , s . v . "Medoff, Mark

Howard."
2
Mark Medoff received t h e T o n y Award for Best Play of 1980 for
ChHdren of a L e s s e r God. Otis L. G u e r n s e y , J r . , e d . , T h e Best Plays
of 1979-1980 (New York: Dodd, Mead, & Company, 1980), p . 503,

T h e Last Chance Saloon.

When You Comin Back, Red R y d e r ? was Mark Medoff's first play to
be p r o d u c e d in New Y o r k .

For t h i s p l a y , in 1974, he received t h e Obie

A w a r d , t h e Drama D e s k Award, T h e O u t e r Critics Circle J o h n Gassner

Award as Best Playwright for t h e 1973-74 s e a s o n , and a Guggenheim
3
Fellowship.
Medoff l e a r n e d t h e American heroic myth from t h e cowboy movies
of t h e f o r t i e s , and e x p e r i e n c e d t h e social revolution of t h e s i x t i e s , in
4
which he felt t h a t t h e last American h e r o d i s a p p e a r e d .
T h e disillusionment of American y o u t h in t h e s e a r c h for t h e i r lost h e r o e s is t h e thematic
core of When You Comin B a c k , Red R y d e r ? .

Mark Medoff's s u c c e s s as

a playwright stemmed from his abiHty to be a barometer of t h a t social and

p s y c h i c change in Am'erica.

J a c k Kroll in Newsweek explained Medoff's

importance as a p l a y w r i g h t :
Writers Hke . . , Mark Medoff are not isolated, eccentric
geniuses like t h e historic h e r o e s of t h e American t h e a t r e , an
O'NeiU or a Williams, I n s t e a d t h e y a r e like s e n s i t i v e cells
of t h e body politic, r e g i s t e r i n g the s h o c k s t h a t body is heir
t o . And since t h e y a r e y o u n g cells in t h a t b o d y , t h e mess a g e of t h e i r plays is important . . .

3
Mark Medoff, "Home Movie," Preface to When You Comin Back, Red
R y d e r ? , b y Mark Medoff (CHfton: James T . White & C o . , 1974), p . 26.
i b i d . , p , 28.
^Jack Kroll, "You Bet Your Life," Newsweek, 4 November 1974, in
J o h n Marlowe and B e t t y Blake, e d s . , New York T h e a t r e Critics''Reviews,
vol. 35 (New York: C r i t i c s ' T h e a t r e Reviews, I n c . , 1974), p . 126,

Medoff said, ''The Saturday matinee was an institution of my childhood, as sxirely as the one I attended Monday through Friday.''

The

characters in the epic sagas of the West, the Durango Kid and Red Ryder,
perpetuated the American myth of the hero in the mid-forties.

This

heroic image was a clear-cut, almost simpHstic deHneation between good

and evil.

Series of the Westem adventures starring Johnny Mack Brown,

Lash LaRue, and Randolph Scott, were produced by the dozens from
1942 to 1946.

Bill EUiott played the comic hero Red Ryder in over

g
twenty sequels in three years.
Red, the Durango Kid, and aH the
others, left Medoff with a lasting impression of the heroic figure.
In the sixties, amid the growing upheaval of the social ccntroversy
centered around the Vietnam War and the love-peace creed of the hippie
generation, Medoff began in earnest

o n u r t u r e his writing talent.

Of

this period, Medoff said, "Eisenhower was our last hero, the hero of our
last good war.

And the heroic tradition of the American myth died a

grotesque death in the late sixties with the failure of the revolution,
9
punctuated for emphasis by the thrrd coming of Richard Nixon."

Medoff, "Home Movie," p . 1.

A catalogue of all the westem films released between 1942 and 1946 is
included in Les Adams and Buck Rainey, Shoot-Em.-Ups: The Complete
Reference Guide to Westems of the Sound Era (New York: Arlington
Hoiose PubHshers, 1978), pp. 262-327.
^lbid.
"^Medoff, "Home Movie," p . 10.

After graduate school, displaced and artistically frustrated, Mark

Medoff accepted a position teaching English at New Mexico State University in Las Cruces.

He continued to write, however, and after reading

the rough draft of a short-story, discovered it had "nine pages of dialogue inundating two lines of narrative,"
dramatic form.

This discovery led him to the

The story was lengthened into a long one-act play in ten

scenes, entitled The Wager.

In 1967 The Wager was produced at the

annual Ides of March Festival at the Las Cruces Community Theatre, and
his next two plays, Machinations and Doing a Good One for the Red Man,
were produced there the following two years.

In those three years

Medoff received an education in basic theatre by acting, directing, and

writing. 11
In 1971 Medoff found the inspiration for When You Comin Back, Red
Ryder? from a relationship between a young short-order cook and an
obese waitress he witnessed in an all-night diner in Albuquerque, New
Mexico.

The characters settled into concrete form as Stephen and Angel

a year later with the final draft of the play.

was added as the antagonist.

The character of Teddy

Medoff said, "Teddy came out of me turn-

ing thirty, reaHzing that all that passion, all that anger against Kennedy,
Johnson, and Nixon was useless." 12 Teddy became the "synthesis of a

^Ibid., p , 18,
Ibid., p . 22.
"^^Jack Kroll, "You Bet Your Life," p . 126,

number of Medoff's p e r s o n a l demons, who exhumed and b u r i e d bodies

of his child- and y o u n g manhood," 13
When You Comin B a c k , Red R y d e r ? opened at t h e Circle R e p e r t o r y
T h e a t r e on 4 November 1973 for t w e n t y - s i x p e r f o r m a n c e s .

It was moved,

with t h e same c a s t , d i r e c t o r , and d e s i g n e r , to the Off-Broadway

T h e a t r e on 6 December 1973.

Eastside

T h e play closed 25 A u g u s t 1974, after

t h r e e h u n d r e d two p e r f o r m a n c e s .

14

T h e Wager, r e w r i t t e n as a full-

l e n g t h p l a y , had been optioned with a New York p r o d u c e r before t h e p r o duction of When You Comin B a c k , Red R y d e r ? , b u t was not p r o d u c e d
professionally until a month after the former closed.
Critical comment on When You Comin B a c k , Red R y d e r ? reflected
t h r e e main streams of opinion.

T h e c h a r a c t e r of T e d d y , t h e embodiment

of American myths and d i s o r d e r s , was t h e basis for positive comments

in many r e v i e w s .

However, many n e g a t i v e r e s p o n s e s were aimed at the

play's "arbitrary suspense"

15

and lack of thematic definition,

Finally,

some r e v i e w e r s found n o t h i n g of value in t h e play at all,

T e d d y is t h e symbol of Medoff's American y o u t h in s e a r c h of lost
heroes,

Clive B a r n e s commented on t h e social reflection in t h e c h a r a c t e r ,

a y o u n g man in his t w e n t i e s , who comes into a d i n e r in s o u t h e r n New

13
Medoff, "Home Movie," p . 8.
"'"'^John Willis, e d . , T h e a t r e World:
Crown P u b H s h e r s , I n c , , 1975), p , 5.

1973-1974, vol. 30 (New Yor .:

15
Walter K e r r , "The Man Who Came to t h e D i n e r , " New York Times,
23 December 1973', s e c , 2, p , 5.

Mexico on a quiet S u n d a y morning a n d , armed with a g u n , p r o c e e d s to

t e r r o r i z e e v e r y o n e in s i g h t .
Mr. Medoff sees as a n e w , embittered Americana s l i g h t l y y o u n g e r
cousin of t h e amoral p u s h e r s in 'Easy R i d e r , ' b u t t o u g h e r , with
o d d , almost atavistic mempries of t h e pioneer West, when America
was t h e land of d r e a m s .
C a t h e r i n e H u g h e s a g r e e d , ' ' T e d d y was a figvire out of American m y t h o logy."

Mel Gussow, h o w e v e r , found t h i s v e r y quaHty t h e weakness in

t h e c h a r a c t e r of T e d d y ; he s a i d , " T e d d y , p e r h a p s , was too easily metaphorical as a symbol of the 'disaffected

youth.'"

18

Martin Gottfried seemed to sum up t h e lack of thematic definition

in his r e v i e w .
Mr. Medoff has an unmistakable gift for dialogue and dramatic
confrontation, b u t When You Comin B a c k , Red R y d e r ? ultimately
falls a p a r t b e c a u s e , after b u i l d i n g to a full head of steam it r u n s
o t , to end in t h e middle of n o w h e r e . T h a t ' s in terms of plot.
As for its p o i n t - q w h a t Medoff had in mind he got only v a g u e l y
into his s c r i p t .
In his television review of t h e p l a y , Kevin S a n d e r s s h a r e d similar complaints
with Gottfried.

Ke s a i d , "The play is f r u s t r a t i n g l y ,

and even c u r i o u s l y

Clive B a r a e s , "The S t a g e : 'Red R y d e r ' Aims to S t a y , ' ' New York

T i m e s , 7 December 1973, s e c . 2, p . 31.
' C a t h e r i n e H u g h e s , "When You Comin' B a c k , Red R y d e r ? , " America,
29 December 1973, p . 506.
18
Mel Gussow, "'Red R y d e r ' is 2nd Winner From Circle R e p e r t o r y , ' '
New York T i m e s , 7 November 1973, s e c . 3, p . 54.
Martin Gottfried, " T h e a t r e :
'When You Comin' B a c k , Red R y d e r ? ' "
Womein's Wear Daily, 10 December 1973, in J o h n Marlowe and B e t t y Blake,
Critics
eds , New York T h e a t r e C r i t i c s ' ' R e v i e w s , vol. 34 (New York:
T h e a t r e R e v i e w s , I n c . , 1973), p . 142.

anticHmatic.

We n e v e r get a n y clues to why t h e madman does what he

does . . . o r who he is . . . or what he i s . "

20

Although Edwin Wilson

also noted t h e lack of conclusion, he welcomed t h e vitaHty of a new

playwright.
Medoff has r a i s e d more q u e s t i o n s t h a n he has even b e g u n to a n s w e r .
Still, t h e y a r e important q u e s t i o n s , and we should welcome him as
a p l a y w r i g h t who is wilHng to g r a p p l e with them, demonstrating
considerable technical skill as well.
Hcirold Clurman saw not only t h e s t r e n g t h of a new playwright b u t t h e
u n d e r t o n e s of a s c r e e n w r i t e r as well.
The play has h o n e s t intention and a d e g r e e of t h e a t r i c a l p u n c h .
I t s t h r e a t is not wide of its m a r k , and it is clearly t h e work of
a p l a y w r i g h t who may some d a y deHver more cogent stage f a r e , if
his c a r e e r does not lead him to s c r e e n w r i t i n g , w h e r e s u c h material
as we find in his play has become more and more ' t h e t h i n g . '
T h e film v e r s i o n of When You Comin Back, Red R y d e r ? was released.
in early 1979.

Among t h e considerable critical r e p e r c u s s i o n s , s e v e r a l

r e c u r r e n t themes became a p p a r e n t ,

T h e r e was an almost unaminous con-

tention t h a t t h e movie t r a n s i t i o n was fatal to Medoff's material,

David Asen,

^WABC-TV, "When You Comm' B a c k , Red R y d e r ? , " 6 December 1973,

Kevin S a n d e r s , in J o h n Marlowe and B e t t y Blake, e d s , , New York T h e a t r e
Critics'' Reviews , v o l , 34 (New York: C r i t i c s ' T h e a t r e Reviews , I n c . ,
1973), p . 143.
21
Edwin Wilson, "A Crisis in a SmaU D i n e r , " T h e Wall S t r e e t J o u r n a l ,
17 December 1973, in J o h n Marlowe and B e t t y Blake, e d s . , New York
T h e a t r e Critics^Reviews, vol. 34 (New York: Critics T h e a t r e Reviews,
I n c . , 1973), p . 143.
22
Harold Clurman, " T h e a t r e , " Nation, 26 November 1973, p , 572.

t h o u g h complimentary towards t h e original p l a y , felt t h e film v e r s i o n

r e d u c e d t h e material s u b s t a n t i a l l y .
Mark Medoff's p u n c h y melodrama about p e r v e r s i o n of American
heroic myths packed a dramatic wallop o n - s t a g e , p a r t l y because
it was confined to a s i n g l e , inescapable s e t t i n g . It shoiild
have remained t h e r e . . . t h e big s c r e e n r e d u c e d Medoff's
message to hot a i r .
F r a n k Rich in Time a g r e e d :

"None of t h e a c t o r s are helped in t h e

least b y t h e film-makers' a t t e m p t s to open up t h e original p l a y . "

24

George Morris called t h e film version of When You Comin Back, Red
R y d e r ? an "imqualified d i s a s t e r . "

He s t a t e d , "Medoff e x p a n d e d his

play for t h e movie v e r s i o n , b u t b y doing so he has merely compounded

its w e a k n e s s . "

Medoff c h a n g e d t h e original e n d i n g for t h e movie to a

climactic s h o o t - o u t between S t e p h e n and T e d d y .

On this i s s u e , Morris

s a i d , "Medoff winds up glorifying t h e heroic b e h a v i o r he's been s a r c a s tically d e b u n k i n g for two h o u r s . "

25

A n o t h e r r e c u r r e n t theme of criticism was Milton Katselas's direction

Concerning K a t s e l a s , Morris said:
I cannot t h i n k of a more i n a p p r o p r i a t e choice to direct this
material . . . Katselas shows absolutely no feel for t h e flavor
of Hfe in t h e Southwest . . . His s m u g , s u p e r i o r a t t i t u d e
toward a way of Hfe he obviously knows n o t h i n g about is most
offensive.

David A s e n , "Sad Cafe," Newsweek, 26 F e b r u a r y 1979, p , 81,

F r a n k Rich, "Out to L u n c h , " Time, 12 March 1979, p , 77.
25
George Morris, "Lonesome Cowboys," T e x a s Monthly, 7 April
1979, p . 125.
^^lbid.

Commenting on the acting under Katselas' "hysterical direction," Asen said,

" . . .

they disclaim rather than enact their livesand you don't believe
what they're saying for a moment." 27 Colin L. Westerbeck said Katselas
relied on technical trickery rather than the strength of either the performers or the material.
The only remarkable thing about Katselas' direction is the way
it relies on little cinematic tricks of a sort usually intended to
shore up a weak performance. The film suggests that Katselas
thought the characterizations and acting would need a lot of
sly help to siicceed. Katselas did not have a strong belief in
his material.
Comparisons between When You Comin Back, Red Ryder? and The
Petrified Forest were particularly damaging.

Morris said, "Red Ryder

is essentially a mediocre pretentious updating of Robert E. Sherwood's

The Petrified Forest." 29 Westerbeck felt that the initial impact of
Sherwood's story was lost in transition to the sixties setting.
Red Ryder is suffering by impHcit comparison to that other
adaptation of a stage play which it recalls so vividlytoo
vividly. I'm referring to The Petrified Forest . . . the
difference is that forty or fifty years ago this situation
had a potential as melodrama that just isn't there anymore
, . . whatever dramatic potential it may have had in the ^
past, for us this kind of situation is just group therapy.

^"^Asen, "Sad Cafe," p . 81,

28
Colin L. Westerbeck, "Little Red Ryderhood: When You Comin
Back, H. Bogart?," Commonweal 106 (April 1979): 215.
29

Morris, "Lonesome Cowboys," p . 158.

30
Westerbeck, "Little Red Ryderhood: When You Comin Back, H.
Bogart," p , 215.

iO
When You Comin B a c k , Red R y d e r ? , t h o u g h t h o u g h t b y some to be
movie material, did not make t h e t r a n s i t i o n from play to film s u c c e s s fuUy.
T h e Milieu
T h e social and p s y c h i c change in America d u r i n g t h e sixties was
t h e thematic core of When You Comin B a c k , Red R y d e r ? .

In t h e s i x -

ties American y o u t h , in an effort to escape a d e t e s t e d society b e c a u s e

t h e y s c o r n e d its conventions of o r d i n a r y life, s o u g h t a new e x i s t e n c e
31
and a new i d e n t i t y .

T h i s b i r t h of t h e hippie g e n e r a t i o n b r o u g h t

about one of t h e g r e a t e s t social confHcts in American h i s t o r y .

The

conflict was a b a t t l e b y t h e y o u n g against the conformity of the e s t a b lished

American way of life.

Because it was a s e a r c h for individuaHsm

within a nation d e s i g n e d for t h e i n d i v i d u a l , t h e movement eventually

shook t h e foundation of the p r e v i o u s social s t r u c t u r e .

T h e traditional

moral p h i l o s o p h y and ethology of the older generation d e t e r i o r a t e d lor

the young

and in many ways

for t h e old.

This s e a r c h by American

y o u t h for a new p e r s o n a l i d e n t i t y c r e a t e d a period of confusion which

was t h e b e g i n n i n g of a new American c u l t u r a l a g e .
American society e x p e r i e n c e d a period of u n i n t e r r u p t e d economic
growth following World War I I ,

T h e Hving s t a n d a r d of t h e American

family was one of g e n e r a l affluence and p r o s p e r i t y .

T h e y o u t h rebelHon

31
R o b e r t B i e r s t e d t , T h e Social O r d e r , 4th e d . (New York:
HiU Book Company, 1974), p . 136.

McGraw-

11
grew out of t h e fact that this g r e a t e r comfort had not b r o u g h t
happiness.

greater

Children of middle-class famiHes began to p e r c e i v e ,

" . . .

that t h e purstoit of a life of material comfort and social conformity leaves

grown men and women with a v a g u e b u t p e r s i s t e n t feeHng of u n e a s i n e s s . " 32
This " u n e a s i n e s s " among adults was t h e r e s u l t of rapid social c h a n g e .
. . . many middle-class p a r e n t s moved d u r i n g t h e i r Hfetime from
t h e Victorian ethos in which t h e y had b e e n sociaHzed to t h e
less moralistic, more h u m a n i t a r i a n , and more " e x p r e s s i v e " values
of t h e i r own adulthoods . . . No matter how "genmnely" p a r e n t s
held t h e i r "new" v a l u e s , many of them inevitably found themselves falling backoOn lessons of t h e i r own childhoods when the
chips were down.
T h e r e f o r e , children developed a special s e n s i t i v i t y to this d i s c r e p a n c y
between principle and p r a c t i c e .

Not only did t h e y believe t h e principles

t h e y were t a u g h t , b u t t h e s e children had t h e " o u t r a g e o u s temerity to

34
insist t h a t individuals and societies Hve b y t h e values t h e y p r e a c h . "
T h e sixties generation i n s i s t e d on t a k i n g seriously a great v a r i e t y
of political, p e r s o n a l , and social p r i n c i p l e s .
. . . peaceable o p e n n e s s has long been a creedal v i r t u e in
our s o c i e t y , b u t it has n e v e r b e e n e x t e n d e d to f o r e i g n e r s
. . . equaHty has long b e e n p r e a c h e d , b u t t h e "American
dUemma" has been resolved b y a s e r i e s of institutionalized
hypocrisies that exempted Negros from application of this
p r i n c i p l e . Love h a s always been a central value in C h r i s tian s o c i e t y , b u t really to lve o n e ' s enemiesto b e g e n e r o u s

^^Robert Cowley, "The Hippies," Horizon 10 (Spring

1968):

2,

33
K e n n e t h Keniston, "Youth, Change and Violence," American Scholar
37 (September

1968):

^ ^ b i d . , p . 241.

238.

12
to poHcemen, c u s t o m e r s , crjminals, s e r v a n t s and foreigners
has b e e n c o n s i d e r e d foUy.
Because t h e y beHeved social conditioning s t u n t e d and n a r r o w e d t h e
human p o t e n t i a l , middle-class children b e g a n visibly ", . . d r o p p i n g
out of t h e American society of Madison A v e n u e d e c e i t , out of t h e myth
of t h e g r e a t American m i d d l e - c l a s s , out of t h e social, moral, poHtical,
and reHgious hypocrisies c h a r a c t e r i s t i c of middle-class America."
T h e y o u t h rebelHon

37

36

became a movement toward all t h a t was n a t u -

r a l and s p o n t a n e o u s in htimans.

T h e movement grew up on e v e r y coUega

campus and s p r e a d t h r o u g h e v e r y major city.

T h e y o u n g identified with

t h e i r generation r a t h e r t h a n with any specific o r g a n i z a t i o n .

Because

t h e i r c u l t u r e was foiinded on exploration of p e r s o n a l t r u t h , t h e r e were

no clearly defined h e r o e s or l e a d e r s .

T h e individual and t h e e x p r e s s i o n

of his individuaHty r e p l a c e d t h e American heroic image.

Hfestyle mirrored individual e x p r e s s i o n in e v e r y way,

T h e hippies'
T h e hippies

s o u g h t a l t e r n a t e modes of d r e s s , Hving c o n d i t i o n s , employment, a r t , and

most importantly communication,

T h e hippies beHeved:

^ ^ l b i d . , p . 240,
36
WiIHam MacDonald, "Life and Death of t h e H i p p i e s , " America,
7 S e p t e m b e r 1968, p . 152.
37
T h e r e were two divisions of d i s s e n t e r s in t h e sixties rebelHon,
t h e hippies and t h e New Left. T h e New Left developed l a t e r in t h e
decade out of t h e original hippie cialture. Although t h e New Left s h a r e d
t h e b a s i c philosophical principles d i s c u s s e d in this p a p e r , t h e radicals
unlike t h e hippies condoned violent m e a s u r e s to effect s o a l c h a n g e . T h e
individuals associated with t h i s g r o u p were known primarily as poHtical
a c t i v i s t s , MacDonald, "Life and Death of t h e Hippies," p . 153.

13

The ultimate measure of man's life is the quaHty of his

personal relationships; the greatest sin is to be unable
to relate to others in a direct, face to face, one to one
relationship . . . Even with opponents, the goal is to
establish intimate confrontations in which the issues can
be discussed openly.
The hippies believed in the need for spiritual change in America.
They felt that by bringing human relations back to the personalized
level, the founding American principles would be reinstated.

William

MacDonald in America felt that "if the hippies force Americans to look
at themselves morally and spiritually naked, they wiU indeed have accompHshed much good."

Mr. MacDonald quaHfied this statement, however,

by adding:

"They are playing with social passions as any heretic played

with reHgious passions in the Middle Ages." 39 He contended that the
hippie ideals would be received in much the same violent manner.
The middle-class conformist's reaction to the hippie culture was

violent.

Hippies were considered by the vast majority to be un-American

because of their deviation from the accepted norm,

Robert Manning in

Atlantic said:
The superpatriots speak piously about democratic rights and
freedom for all under the American system and they praise
"rugged individualism," but when they actuaUy see someone
behaving or even dressing in a way different from the accepted norm, they are enraged by it and want to stamp it
out.

38
Keniston, "Youth, Change and Violence," p . 231.
39MacDonald, "Life and Death of the Hippies," p . 154.
Tlobert Manning, "Arts and Letters:
224 (September 1969): 123.

The War at Home," Atlantic

14
Fear and violent reactions from "straight" citizens concerning hippies
pointed at the heart of the rebelHon against middle-class conformity.
America, which was a nation founded on diversity and individual freedom
had evolved, in the sixties, to " . . . a society devoted to erasing all
differences of nationaHty and putting everyone into the same melting pot,
a process that hopefully produces a standardized production-Hne human
41
who is stamped with approval as 'AII-American.'"
The youth rebelHon of the sixties challenged the existing "AUAmerican" concept.

Because the counter-culture was a movement for

personal expression and human r i g h t s , the repercussions of the social

conflict it created were felt not only by society at large, but on the
individual basis as well.
and old alike.

The American- identity was challenged for young

The resulting national identity crisis touched American

standards in every facet of existence.

When You Comin Back, Red Ryder?

is a study of the American collective search for identity in the sixties.

41
Ibid., p . 122

CKAPTER II
CASTING, REHEARSALS, PERFORMANCE
Acting Theory
The acting style chosen for this production of When You Comin
Back, Red Ryder? required a cast to achieve a state of life on the
stage.

The approach to this style of acting is "a search oi self and

leads toward the usage of self on the stage."

The intrinsic unique-

ness of the individual actor is the focus for casting, an entrance to the
script, and the development of the rehearsal process itself.

To utilize

the actor's .individuality, characterization is structured from integrated

personal understanding of the author's intent

and the process of

moment-to-moment actual interaction between individuals.

Personal

integration of the material and the support of an ensemble merge individuaJ efforts into a unified whole.

The production of the play con-

tains the Hfe of the actors as weU as the life drawn in the script.
In order to have full involvement and full contribution of self,
the actor enters the work from the viewpoint of participation rather
than performance.

"Performance involves self-consciousness, self2

judgment, and derision from o t h e r s . " " The actor who is focused on

Eric Morris and Joan Hotchkis, No Acting Please (Los Angeles:

Whitehouse/Spelling PubHcations, 1979), p . 2.
Theodore Isaac Rubin, Compassion & Self-Hate: An Alternate
to Despair (New York: Ballantine Books, 1975), p . 189.
15

16
the act of performing, when buUding a character, structures a facade
Qutside of himself.

His entrance to characterization is through phys-

i c a l activity rather than motivational understanding.

In this approach,

one part of the actor must always be watching and judging himself:
"This kind of consciousness of self can produce severe inhibition and
3
stage fright in actors."
Pretense of activity inhibits usage of appropriate qualities within
the actor.

He gravitates, instead, to only the dominant character

traits reqiHred by the script.

His portrayal becomes one dimensional

and has the quality of being acted.

The actor's characterization is

kept at the surface reality of physicalization by constant inner judgment.

Further, his inner comment becomes his sense of being in

character.

When unrehearsed occurences arise on stage, the actor, in

this style of acting, is faced with dropping his character to react

spontaneously.

Theodore Isaac Rubin defines performance and explains

the results of performance orientation:

In performing, I split myself into two people, the one doing
the performing and the one watching the performance and also
watching the audience response. Splitting, watching, and
judging, not only prevents total integrated participation of
self, biit also makes for attacks of acute anxiety and impotence,
Participation allows the actor to be in the moment,

Time and

energy spent in rehearsal arenot divided by fear of the eventual

^lbid.
'^lbid.

17

presentation:

"Investment in the process rather than the product

works against destructive striving (making relating to others easier

5
and happier)."
Participation calls for full involvement and full contribution of self, without recriminating judgmental value:
In participation, I am my whole self, and I am involved
as my whole self, making selfTConsciousness and embarrassment virtually impossible.
The actor begins from a state of being which, according to Rubin,
7
"means to have full respect for who I am and live fiUly as I am."
This statement of "I am" frees the actor of judgment from himself,
other cast members, a director, or an audience.

He can trust his

choices and instincts in relation to the script demands without fear

of violation, censorship, or failure.

The actor can "let one impulse

lead to another without intellectual editing, including all life going

Q

on."

The resilting portrayal contains all of the actor's personal

truth and reaHty.

Eric Morris in No Acting Please describes the

quality of work in this approach to acting:

^lbid., p , 178.
^lbid,, pp, 188-89,
"^lbid,, p , 175.
o

Morris, No Acting Please. p p . 4-5.

18
The actor brings to his work the undeniable uniqueness
of himself and the work takes on a personal quality t l ^ t
has a fabric incomparable to anyone or anything else.
To blend the personality of the actor with that of the character, the

actor's Hfe experience is incorporated into line motivation.

The script demands certain personality traits by the situation the

character is placed in for the time of the play.

The actor supplies

the quality of these traits by translating action into personal terms.

When studying the script, immediate emotional responses within the
actor signal character action which is closest to his own experience.
The actor's admittance of this personality parallel formulates the basis
for his characterization.

Rehearsing line association with emotional

response tntegrates character action by translating line meaning

through this recognition.

In this way, the actor eventuaUy discovers

himself in character action which initially seemed foreign to him.

Through this rehearsal process, the actor develops a natural
inclination to feel a certain way each time a specific line is spoken,
rather than establishing a pattem of physical delivery.
knows what he is saying

If an actor

but his physical expression is not rein-

forcing the same image, the moment wiU not feel right.

Therefore,

the actor's honesty and understanding of his physical form and how
it moves in space must be as complete as his knowledge and acceptance of his intemal processes.

He can then evolve to a natural

flow from meaning to the physical expression of that meaning.

"^lbid.

19
The emotional and physical integration of the material allows
the actor to experience the action of the play as it occurs.

Because

the action wiU exist in the moment-to-moment life of the character,

physicalization wiU not always be the same.

Action based in individ-

ual meaning will invariably produce spontaneous changes in the way

it is extemalized each time,
is eliminated.

Therefore, anticipation between actors

Character interaction reUes on great concentrated

awareness of what each actor brings to the moment.

correspond to given levels of stimulus.
character need.

Response levels

Ensemble is formulated out of

The action of the play moves in this way, building

on itself.
By focusing on the process of rehearsal rather than the eventual
performance, the actor is freed from the fear of failure.

This free-

dom enables the actor to integrate his private traits into the character.
His characterization has a high degree of credibility because it is
based in his own personal integrity.

Finally, the actor is able to

engage in spontaneous interaction with others on stage because his

role interpretation contains all of his personality.

When an actor

functions from this state of being, the life on stage

. . . has a crisp "one time" feeling that actuaUy makes
the audience believe it is happening here and now.^or the
very first time, because, in a sense, it really is.

^^lbid., p . 4.

20
Auditions and Casting
T h e p r i m a r y consideration d u r i n g auditions for When You Comin
Back, Red R y d e r ? was to identify t h o s e individuals who could achieve
a level of acting b e y o n d a preconceived c h a r a c t e r i z a t i o n .

The script,

when a p p r o a c h e d in a cold r e a d i n g situation, seemed to lend itself to

a sHck s u r f a c e r e a l i t y .

This level occtirred partially because of t h e

amount of specific directions suppHed for physical a c t i v i t y , and p a r tiaUy because of t h e basic s t r u c t u r e of t h e action in g e n e r a l .

There-

fore, many a c t o r s easUy g r a v i t a t e d to dominant c h a r a c t e r t r a i t s and

s u s t a i n e d t h e s e choices t h r o u g h o u t s u b s e q u e n t r e a d i n g s .

Individuals

who did not initially g r a v i t a t e to siirface r e a d i n g s were swayed to do

so b y e x p e r i e n c i n g this t e n d e n c y in o t h e r s as t h e audition process
progressed.

C o n s e q u e n t l y , t h e majority of initial efforts b y most a c -

t o r s had to b e overlooked because t h e y failed to contend with an

essential dramatic element of t h e p l a y c h a r a c t e r p r o g r e s s i o n .
effort to encourage new flexibility in role i n t e r p r e t a t i o n ,

In an

personalities

were utUized in r e a d i n g s for roles against their a p p a r e n t t y p e .

This

role placement developed a s t a n d a r d b y which actors could b e eliminated from call-back auditions and eventual c a s t i n g .
In o r d e r to achieve an evolving i d e n t i t y on s t a g e , t h e directorial
a p p r o a c h for casting When You Comin Back, Red R y d e r ? was based
upon t h e i n t r i n s i c u n i q u e n e s s of t h e individual a c t o r s at a u d i t i o n s .
T h e main criterion for receiving a role became t h e a c t o r ' s ability to
s u s t a i n a sense of who he was beyond any technical ability he could

21

demonstrate.

In t h e audition p r o c e s s , actors who allowed t h e material

to evoke p e r s o n a l e x p r e s s i o n r a t h e r t h a n a p r e t e n s e of activity achieved

a s t a t e of mind in action.
able level of c r e d i b i l i t y .

As a r e s u l t , their r e a d i n g s had an u n d e n i From t h e directorial point of view, these actors

revealed not only t h e i r s e n s i t i v i t y to t h e material b u t t h e i r potential

to develop an ensemble with o t h e r cast members.

T h e physical s u i t a -

bility of t h e s e actors for a specific c h a r a c t e r dictated t h e roles in which

t h e y were c a s t .
Stephen
In his initial r e a d i n g s for S t e p h e n , David Graham seemed to p o s s e s s a n a t u r a l inclination for e x u d i n g obnoxious c l e v e r n e s s .

This

p e r s o n a l i t y t r a i t nhanced the sardonic tone of S t e p h e n ' s l i n e s .

How-

e v e r , his image of S t e p h e n as t h e smart aleck y o u n g p u n k lacked a

s e n s e of p e r s o n a l v u l n e r a b H i t y .

For many c h a r a c t e r s i t u a t i o n s , Graham

seemed too confident and s e c u r e .

As Graham gained experience with t h e r o l e , he revealed a flexibility with his i n t e r p r e t a t i o n by developing a s p o n t a n e i t y with various
individuals in scene r e a d i n g s .

His choice to explore the n a t u r e of

S t e p h e n led him to utUize more a s p e c t s of his own p e r s o n a l i t y .

Graham's

final characterization in auditions disclosed glimpses of a sensitive

insecurity beneath a tough veneer.
David Graham was physically suited to t h e c h a r a c t e r of S t e p h e n .
He was small in s t a t u r e and fair in coloring.

Kis physical a t t r i b u t e s

not only helped to establish t h e youth of t h e c h a r a c t e r but aided in

s u g g e s t i n g t h e shallowness of his t o u g h v e n e e r .

22

Angel
The role of Angel was most noted in auditions for offering the
participating actresses very little to work with beyond their own
sensitivities.

The scenes affording actresses the most exposure as

Angel were the initial conversations between her and Stephen.

Be-

cause of the expository nature of these conversations, there was

Httle opportunity for character development.
Terry Tittle was cast as Angel because she reflected her own
viUnerability in relating to Stephen.

Each of Stephen's harassing

remarks made a visual emotional impact in Ms. Tittle.

Instead of t r y -

ing for highHght effects in her delivery of lines, Ms. Tittle revealed
a motivational understanding of the relationship between Angel and
Stephen in these difficult scenes.
The role of Angel had an important physical requirement.
antagonism toward Angel was directed at her obesity.

Teddy's

Due to the na-

ture of the chosen acting style and the proximity of audience members
in an intimate house, this physical trait had to be inherent within the
actress cast as Angel.

Terry Tittle, although not obese, offered the

potential for the credibility of a weight problem by being full-figured.

Ms. Tittle had a sweet innocent appeal which was convincingly young
and gmleless.

Because Ms. Tittle was very p r e t t y , she could achieve

the thematic focus of the play better than an actress who was physically unappeaHng.

With Ms. Tittle in the role of Angel, Teddy's

behavior conceming Angel's weight problem would become an effort

to transform Angel's self-delusions, rather than promoting cruelty
for its own sake.

23

Lyle
David Cooney was cast in the role of Lyle Striker, the aging
motel, gas-station owner.

Mr. Cooney achieved a high level of be-

lievabiHty in his readings by foregoing any attempts at affecting age

mannerisms.

Instead, he approached the character action with a

straightforward quaHty, allowing lines naturally to create an impression of the man.

David Cooney possessed an interesting vocal quality which
facilitated easy expression of Lyle's informal conversational style.
Cooney was small in stature, which would aid in the impression of
aging by make-up and costuming without violating his sincere approach
to the character.
Mr. Clark
T. K. Maynor was cast in the role of Mr. Clark.

Maynor coiUd

achieve the characterization of the diner owner with a gift for comic
deHvery which was not hampered by trickery.

Maynor had a conflicting

commitment in -another production which eliminated him from consideration for any other role.

Because Mr. Clark's scenes were isolated

from the majority of the action, rehearsals could be arranged around

Maynor's schedule.
Richard Ethredge
Richard Ethredge was depicted by many actors in auditions as
a weakHng.

Although Richard is physically and psychologically re-

duced by Teddy in the second act, Richard's Hnes in the first act

24

s u g g e s t a man not only in control of his own fate b u t one who controls his wife's as well.

T h r o u g h o u t t h e first a c t , Richard is s a r c a s -

tic toward T e d d y a n d even condescending in some i n s t a n c e s .

Richard

r e f u s e s to r e l i n q u i s h his position in t h e closing moments of the play

a l t h o u g h he is held at gun p o i n t .

T h e s e factors establish t h e role of

Richard as t h e most obvious example of c h a r a c t e r p r o g r e s s i o n in the

play.
Brad Campbell seemed to follow the general p a t t e r n of r e t a i n ing R i c h a r d ' s emasculated qualities t h r o u g h o u t t h e p l a y .

Kowever, in

his r e a d i n g s for T e d d y , Campbell had an unspoken a u t h o r i t y which

defied challenge.

Mr. CampbeU revealed an inner s t r e n g t h without

affecting b r u t i s h embeUishments,

Although Campbell's image of T e d d y

was s t r o n g , it lacked a t e n d e n c y toward violence.

Therefore, the

controUed s t r e n g t h s he disclosed as T e d d y were more suitable for t h e

role of R i c h a r d .

This a t t r i b u t e coupled with Campbell's embodiment

of R i c h a r d ' s emasculation in t h e second act, made him a logical choice

for the wealthy textUe i m p o r t e r .
B r a d Campbell had a fair complexion a n d seemed physically more
t h e t y p e of a gentleman t h a n of a r u g g e d i n d i v i d u a l .

He was taUer

t h a n most of t h e o t h e r a c t o r s auditioning, which woiUd add an i n t e r e s t ing element to t h e relationship between Richard and T e d d y .
Clarisse E t h r e d g e
Tamblyn Rae Hayes was cast as t h e wealthy concert vioHnist.
Ms. Hayes b r o u g h t an immense amount of personal vitality to h e r audition.

This personal quaHty became impressive in audition scenes in

25

which Clarisse was an essential visual aid to the action b u t had no

spoken Itnes.

In t h e fight scene between R i c h a r d and C l a r i s s e ,

many a c t r e s s e s would p r o d u c e t h e effect of a general a n g e r r a t h e r

than finding meaning b e h i n d t h e i r physicaHzation or any s p o n t a n e o u s
connection with t h e i r audition p a r t n e r .

Ms. Hayes, however, allowed

t h e lines to lead h e r t h r o u g h a personal emotional b u i l d .

r e a d i n g , she was able to achieve moments of living action.

In a cold
Tamblyn

Kayes was able to depict a c h a r a c t e r older t h a n herself b e c a u s e she

had an a t t r a c t i v e sophisticated q u a l i t y .
Teddy
In a u d i t i o n s , most actors aligned with t h e b r u t a l viUainous a s p e c t s of t h e c h a r a c t e r T e d d y .

Patrick Remmert became T e d d y primarUy

because of his i n s i g h t s into this c h a r a c t e r in t h e "Tattoo S c e n e . "

12

I n s t e a d of p r o d u c i n g affectations of t o u g h n e s s , Remmert chose to enter

t h e scene w t h a light t e a s i n g p r e t e n s e .
answering his q u e s t i o n s .
t h e scene was a s u r p r i s e .

S t e p h e n was seduced into

T e d d y ' s o u t b u r s t of violence at t h e end of

T h e impact of t h e scene when formulated in

this way contained twice the menace of any previous r e a d i n g s .

Remmert

was one of t h e first actors to add o t h e r dimensions to the role of T e d d y

beyond his c r u e l t y .

N.J,:

He c r e a t e d a question about T e d d y and s t e p p e d

'' Mark Medoff, When You Comin Back, Red R y d e r ?

James T . White & C o . , 1974), p p . 101-3,
^ ^ l b i d . , p p . 69-72.

(Clifton,

26

out of the stereotyping.

Remmert's characterization was based in his

own energetic wildness.

Kis witty prankster contained shades of a

very serious threatan uncontrollable violence waiting to be released.

Patrick Remmert was tall and ruggedly handsome.

Ke was in

very good physical shape and seemed quite capable of lifting Stephen
at the end of act one. 13 Mr. Remmert also seemed capable of presenting a true physical threat to the rest of the characters.
Cheryl
Saralee O'NeiI was cast as Cheryl, Teddy's hippie girlfriend.

In

her readings for Clarisse, Ms. O'NeU had a tendency to affect emotional
quaHties.

However, in moments, she was unpretentious and added an

esoteric quality to the relationship with Teddy.

Ms, O'NeU was petite and attractive.

'"

She was physically reminis-

c e n t of the sixties flower-children with large expressive eyes and a

slender figure.

l^Ibid., p . 79

27

Rehearsals
After the first two read-throughs and discussions of the play,
it became apparent that the cast brought the same surface preconceptions from the audition experience to the rehearsal process,

There-

fore, in an effort to encourage the cast to develop a new approach

to the script and their characterizations, the scripts were collected
and a week of exploration and evaluation was designed.
The first step toward developing a new acting approach in rehearsals was to estabHsh an attitude with the cast based on the foUowing premise:
. . . the process itself is not merely more important than
the goal it fuIfiUs or the accomplishments it produces or
the product which results. It is that product. The product could not exist without the process and is only a
representation of the process, If the process is the
product, then accompHshments and lack of accomplishments, success and failure, good results and bad results,
cannot rob us of either Ijipe or energy or self used by us
in the time of our lives.
The cast was initiated to this attitude by gtddeHnes for conduct, by
promoting the exploration of self in the theatre space and by private
individual discussions and evaluation.
Company Agreements
GuideHnes for conduct during the time spent in rehearsals as
weU as during time spent away from the theatre were designated to
estabHsh an environment conducive to greater personal freedom.

14
Rubin, Compassion & Self-Hate, p p . 177-78.

No

28
one was aUowed in the theatre except the cast.

Closed rehearsals

were requested to protect the cast from outside influence.

Discus-

sions of any specific activity or personsd grievance were kept in

strictest confidence.

When questioned in public, cast members were

instructed to be positive but excliisive about the developments of the

production.

The actors were advised to voice negative feeHngs toward

the work progress or other cast members during rehearsals rather than
in pubHc.

PersonaHty confHcts in rehearsals were solved privately

away from the rest of the cast to further protect and promote a positive attitude toward each other's work.
Actors were also requested to remove their watches at the beginning of every rehearsal.

This request was an effort to reduce any

consideration of time during the activities.

By alleviating time con-

ception, cast members were encouraged to concentrate solely on experiences as they occurredplacing the value of the work in the moment.
This stipxUation on awareness of time was the initial step toward eliminating goal orientation for the overall rehearsal process.
These guidelines were firmly maintained and enforced by the
whole group throughout the entire rehearsal period.

Each of these

guideHnes helped to strengthen the actor's personal position in rehearsals.

Because of the enhanced individual freedom, a shared respon-

sibility for the production was promoted within the group.

Exploration Exercises
Although specific examples of exercises for the exploration of
self in the theatre space with individual evaluation and the development

29
of an ensemble are discussed independently in this chapter to clarify
each type of activity, work in both areas usuaUy occurred within an
evening's rehearsal.

AIso, specific exercises which focused on work in

one area usually contained the potential for development in the other
area as weU.

The following example is an overaU view of an evening's

activities during these exploration rehearsals.

gcin with ensemble exercises, children's games.

The rehearsal usually beThese games served

as warm-up exercLses as well as a vehicle for developing better communication between cast members.

The actors were then given a

portion of the stage space in which to work individuaUy,

Since this

was a self-paced exploration exercise which evolved with the actor's

imagination, some actors drew to a conclusion earHer than others,

At

this point, some individuals were given new incentive to continue an

idea or an actor was taken aside privately and his discoveries were
evaluated whUe the others continued on stage.
During some portion of every rehearsal, each actor's activities
were discussed and evaluated piivately,

In this way actors were given

a subjective and objective experience in each step of their personal

work,

This duality in experience introduced the actors to the approach

to character development based on their own personalities,

These dis-

cussions faciHtated the design of exercises for subsequent rehearsals

which began at a natural progression point for maxiraum benefit.
By discussing privately each actor's previous training and personal hopes for this production, coramon ground was found within the
diversified experiences of the group.

Methods were discovered to

encourage the experienced actor to readjust his image of himself as a

30

performer as well as to encourage the inexperienced actor to defeat

inhibitions in order that he might develop an image of himself as a
performer.

Discussing the actor's hopes for the production helped

to strengthen feedback so that clearer lines of communication were

established.
These private sessions estabHshed tn this exploration period
created a more secure environment for the actors to work in.

The

actors developed a sense of theraselves as the most viable reso-urce

for buUding the characters.

The actors were given a sounding board

by which they could make choices acceptable to the intrinsic integrity

within themselves.

These actor choices were playable on the stage

and easily mapped into the group effort.

Because of the success of

the initial conversations, the actor's work was protected with this
method throughout the more structured aspects of the rehearsal process.

This generally promoted greater respect for everyone's work

and more freedom for exploring altematives in character development.

This initial relationship of trust widened the effort of each actor within himself and broadened his acceptance of each member within the
group.
Self exploration was achieved through isolation exercises.

These

isolation exercises were designed to develop several aspects -within

each actor.

First, these exercises helped the actor to confront the

theatre space as himself to determine his own feelings and limitations

prior to character development.

Each actor was given a predominant

emotion to explore from some character situation in the script.

AIso

31
the actors were encouraged to explore any aspects of themselves
which they felt uncomfortable expressing on stage.

These exercises

also became an excellent means of combating the actors' previous

character conceptions.
Although these exercises were conducted with the entire cast
working indi-vidually on stage the first evening of the exploration
week, the best results were obtained from scheduHng separate rehearsals with the couples who formed the relationships in the script, such
as Brad Campbell as Richard, and Tamblyn Hayes as Clarisse.

The

couples were restricted from interacting with each other in these sessions; however, they were free to observe each other as each explored
his own possibiHties.

This environment.though isolated by this r e -

striction, was conducive to structuring compatibiHtythe first step in

ensemble development.

By elirainating the demands of improvisational

interaction the couples shared the general rehearsal experience without

developing competition between them.

Instead, the movements and

sounds of each actor as he worked were avaUable to be incorporated

into the other's personal exploration.

They developed the basis for

their relationships in the script by experiencing unpressured familiarity.

After working for the third evening in isolation on seU-exploration,
the couples were asked to iraprovise the background inforraation on their
character relationships in the script.

UnHke their previous approach

to the script, this time their individual role interpretations and their
conceptions of the other character were based upon personal discoveries
and devoid of their original inflexibiHty,

They entered the circumstances

32

surrounding the characters in the play with a wiUingness to explore

possibiHties and a concentrated awareness of the other person's input.
This exercise f-urnished the necessary background information of the
characters through the shared imagination of the actors and was the
foundation of the development of the ensemble.
Terry Tittle and David Grahara were scheduled to experience
isolation exercises at the sarae tirae.

The raost valuable eleraent to be

discovered by Ms. Tittle in her exploration of the stage space was an

approach to corabating her initial inhibition and shyness on stage.

She

was encouraged to wander around the stage and find any outward expression of her personality which was comfortable.

Though the initial

stages were difficiUt-for her she developed an exercise which was used"
throughout the rehearsal period to raake her feel corafortable on stage.
Through her private conversation the idea was developed for her to
dance and play in the curtains.

Although this seems extreraely simple

it became a psychological gesture of her enjoyment in being on stage,

a method to combat initial inhibition which caused her to withdraw inside of herself and an expression of her absolute freedom to express
any personal quaHty within herself.
David Grahara experienced some personal difficulty in relating to
this approach to the work.

On raost occasions in isolation he expressed

an inabUity to discover new aspects of hiraself appHcable to the character.

In evaluation he expressed a personal grievance for working in this vein.
More structured incentive was added to his exercises to help him; however, because of his inflexibiHty, this method was less beneficial to him

33

than to others.

Generally he was asked to explore his own more

sensitive aspects and discover a comfortable expression for sharing

these pubHcIy.

He continued to defend the idea that he already

knew where his personaHty paraUelled Stephen's and did not need any
further exploration.
Terry Tittle and David Graham improvised a typical

raorning's

work together at the diner as Angel and Stephen.

Grahara seeraed

overly antagonistic toward Angel in this situation.

This was a problem

which continued in rehearsals untU it was solved through Ms. Tittle

rather than Mr. Graham.
David Cooney who was cast as Lyle worked on stage in isolation
along with Terry Tittle and sometiraes David Grahara.

Cooney was

instructed to explore his eraotional and physical developraent into age.

Because of his rela'tive inexperience, he was also encouraged to siraply
explore the theatre space and find a corafortable place in it.
began work on the handicapped aspect of Lyle.
of enthusiasra to these exercises.

He also

Cooney brought a lot

Ke expressed a wilHngness to explore

any avenue and developed a better understanding of Lyle without affecting mannerisras.

By beginning at his own age and progressing through

his imagination until he felt older, he form-ulated a foundation for obtaining the age of Lyle.
The improvisation between Terry Tittle and David Cooney was
based on the evenings Angel and Lyle shared around his television set.
Although no major insights in this relationship were discovered, the
actors supplied the background infoimation for further development.

34

Tamblyn Kayes and Brad Carapbell worked in isolation on stage

the sarae tirae.

Tarablyn Kayes's concern with her character's age

was discovered frora working in this way.

The personal vitality she

expressed in auditions was subdued in the beginning exercises which

caused her to have no real resources from which to work.

Through

evaluation this concern was alleviated, and she was encouraged to channel
her personal energies into any rausical forra she could create on stage.
This helped her to find a corapatability with what she initially felt was
an inappropriate expression of her youth for the character.
Brad Carapbell was initially drawn to the weakness in Richard.
By instructing him to explore aspects of his own sorrow in isolation
and physical expressions of what he felt Richard's huraiHation was
based in, Carapbell discovered his understanding of the role.

His per-

sonal expression of humiHation had raore inner strength than his

interpretation in auditions.

Because of this exercise it became easier

to design rehearsal instructions to aid hira in searching for these

strength levels in Richard.
The background improvisation between Tamblyn Hayes and Brad
CampbeU was particularly beneficial.

Because they had each discovered

valuable character aspects in themselves, this improvisation was a natural

last progression for thera in the exploration week.

The character situ-

ation they dealt with was a conversation between Richard and Clarisse
in the car driving to the diner.

New levels and considerations in the

couple's marital relationship were developed because the actors no

longer retained assuraptions concerning their characters.

They had an

ww

35

openness to develop spontaneously any idea as it occurred in the

improvisation.

F u r t h e r , this exercise helped to structure a soHd

foundation for the relationship because the background information

was developed and agreed upon by the actors as they experienced
the character situation.
Pat Remmert, Teddy, and Sara O'Neil, Cheryl, worked in isolation at the same time.

The most valuable discover^/ for Pat Remmert

developed in his isolation exercises.

Pat was asked to express his

anger physically and encouraged to allow the exercise to build to any

violent tendencies, iinder supervision.

He had a great deal of per-

sonal difficulty expressing his anger on stage.

Although he would

develop a motivation b y b e a t i n g chairs and throwing blocks of wood,

he withdrew from the emotion and the exercise completely when he
actually became angry.

Through evaluation it was discovered that he

personally felt very strongly about wanting people to Hke him.

There-

fore, he controlled any tendencies to express his passion or rage.

This admittance by Remraert became the foundation for discovering
the duality of Teddy.

By giving him a secure environment and a

solid sounding board he was able to explore his own personality in

relation to the character situations and find the definitive motivation
for his character.
Sara O'NeiI had a tendency to rely on impet-us frora sources
beyond herself to initiate any action on stage.

She was instructed

to explore her memories and feeHngs at eighteen.

This seemed to

inspire more effort from her than other approaches.

She formtilated

36

a compatibiHty with Cheryl by re-experiencing aspects of herself at that

age.
It became apparent during the improvisation with Pat Remmert
and Sara O'NeU that an extreme personaHty confHct existed between
them.

This problem developed further as the rehearsals progressed.

Serious measures such as the discussion of considering recasting of both

of these roles had to be utUized to aUeviate the situation.

Kowever, due

to the nature of the relationship between Teddy and Cheryl which was
strained and insecure, Remmert and Ms. O'Neil were able to develop
their personal grievances into playable tension and subtext in character
situations.
Ensemble
Work was done in ensemble developraent to build support for individual character development and provide a cohesion for the work as a
whole.

The developraent of an ensemble was introduced by using chil-

dren's games such as "Red Light, Green Light," "BHnd Man's Bluff,"
"SiraonSays," "Statues," "Mirror Images," "FoUow the Leader," and
"Eye Contact, Name CaUing."
several reasons.

These children's games were used for

There were no prerequisites to participate.

Because

these games were associated with chUdren, the actors were offered the
opportunity of being themselves and stiU interacting with one another.
These games helped to generate energy for the evening's rehearsal because physical activity Hke running was involved.
These games set a precedent for the actors to watch, Hsten, and
react in as unenc^umbered a way as possible.

The games were also

an opportunity to explore character relationships within the

37

boundaries of the other personaHties.

lent aggression outlet for everyone.

These garaes becarae an excelAggression was not suppressed

but given a means of expression within the structure of the chUdren's

garaes.

This promoted the acceptance of the whole personality rather

than proraoting acceptance of only those attributes of an individual

which contributed to the harmony of the group.

As actors experienced

each other in this low pressure lively atmosphere, their real Hkes and
dislikes concerning each other could be expressed and therefore utilized
as the basis for developing character relationships.
"Red Light, Green Light" was a particularly successfiU game.
One cast raeraber,. such as Sara O'Neil, called " Green Light" with her
back 'to the group while other members tried to reach her befor she
said "Red Light," and turned to face thera.

The group would freeze at

the call of "Red Light" and Ms. O'NeiI's powers of observation were
tested to recognize individuals stiU raoving. This was a highly energetic game which developed concentration and observation as well as
being an exceUent aggression outlet.
The garae designated as "Eye Contact, Narae CalHng" was utUized
to develop sensitivity within the group.
watched one another.

The cast sat in a circle and

An appointed individual spoke another's narae

when he saw soraething of interest in thera. That individual would in

turn continue searching for a connection with another.
The cast raerabers interacted within the loose structure of these
garaes.

They coiUd explore any aspect of themselves or their character

relationships without any restrictions or pressure.

The cast learned

38

as a whole that they did not have to Hke one another to be able to
work well together.
Actors began to spend time away from the theatre together.
Because of the initial company agreeraents concerning privacy and
respect for each other's work and the development of the production
as a whole their outside tirae increased compatibiHty by furthering
personal understanding.
aggression outlet.

This situation also evolved as the final

Instead of competing on the stage in endeavors

within the process, rivalry existed in the everyday life of the cast
members.

Therefore, work done in rehearsals became free of compe-

tition.
At the final rehearsal of the exploration week the scripts were
r e t u m e d to the cast members.

They were instructed to skira through

the play to refamiHarize themselves with the plot Hne.

The actors

then iraprovised the first act of the play.

The second act was improvised the following evening.

This was

the first experience with spontaneous interaction as the characters.

This was a natural progression back to the formal script and an opportunity to apply personal growth to character situations without having
to contend with all of the deraands of the script at once.

SkUls of

observation developed in children's games were crucial to the continuing

of this activity.

Because the cast had developed a standard for per-

sonal freedom, pre-vious assuraptions were absent and a new concentrated

awareness of each other was introduced.

39

Developing t h e Script
T h e a c t o r / d i r e c t o r relationship becarae raore forraaHzed d u r i n g
t h e moveraent and blocking r e h e a r s a l s .

Because all of t h e major set

pieces were available, estabHshing p a t t e m s of raoveraent was siraplified.

C h a r a c t e r areas were d e s i g n a t e d and t h e course of action was worked
t h r o u g h t h e s e points of r e f e r e n c e .

Due to t h e Hraitations of space

actors were given specific i n s t r u c t i o n s for moveraent p a t t e r n s and advised to b e conscientious in r e p e a t i n g thera.
When the play was blocked, a series of working r e h e a r s a l s b e g a n .
Individual role i n t e r p r e t a t i o n s were developed, t h e enserable was solidified and the elements of pacing and focus were a d d e d .

The play was

divided into units to enable concentration on specific action.

Unit One
C h a r a c t e r s : Angel, S t e p h e n
Function: Exposition
Action: Angel e n t e r s t h e diner six rainutes late for work. She
b e g i n s cleaning up t h e mess that S t e p h e n has left for h e r .
She wipes off t h e cotinter and t h e tables and sweeps t h e
floor. S t e p h e n h a n g s around after his shift is up to get
in Angel's way. Ke throws t r a s h in areas she has already
cleaned. He d r i n k s coffee in p a p e r c u p s to i r r i t a t e h e r ,
and he i n t e r r u p t s her b y i n s i s t i n g t h a t she s e r v e him coffee and d o n u t s . He also d i s t r a c t s her by talking about
leaving town, a topic in which he knows she is i n t e r e s t e d .
Cause for c h a n g e : Lyle e n t e r s .
Unit Two
C h a r a c t e r s : A n g e l , S t e p h e n , Lyle
Function: Exposition
Action: Lyle S t r i k e r e n t e r s the diner to o r d e r b r e a k f a s t .
Angel
b e g i n s to cook his o r d e r . Lyle and Stephen a r g u e about
whose b u s i n e s s is more successful since t h e b y - p a s s was
put i n .
Cause for c h a n g e : Lyle e x i t s .

40

Unit Three
Characters: Angel, Stephen
Function: Exposition
Action: Stephen watches through the window while Lyle fUIs up a
CadiUac at the station. Stephen brags about the car and
apartment he wiU one day own to impress Angel. Angel
coraplains about work and her pay check to bring Stephen's
attention back to the world they share. Stephen convinces
Angel that he is important and deserves better treatment.
Cause for change: Mr. Clark enters,
Unit Four
Characters: Angel, Stephen, Mr, Clark
Function: Exposition
Action: Mr. Clark destroys Stephen's iUusions of iraportance by
treating hira Hke a kid.
Cause for change: Mr. Clark exits.
Unit Five
Characters: Angel, Stephen
Function: Character developraent
Action: Angel and Stephen confide in each other that their home
lives are no better than their working situation. The feeling of dissatisfaction is for the moraent shared.
Cause for change: Richard and Clarisse enter.
Unit Six
Characters: Angel, Stephen, Richard, Clarisse
Function: Exposition
Action: Richard and Clarisse enter the diner. Richard demonstrates
his dominant attitude over Clarisse while ordering breakfast,
Clarisse allows this as if it were an accepted everyday occurrence.
Cause for change: Lyle enters,
Unit Seven
Characters: Angel, Stephen, Richard, Clarisse, Lyle
Function: Exposition
Action: Stephen makes an issue out of leaving to-wn. Kowever, when
Angel and Lyle press him for specific details, he deraonstrates
his inability to change his situation. When they prove to

^
P

41
theraselves and to him that his desire is "just talk,"
Stephen marches out of the cafe,
Cause for change: Stephen exits.
Unit Eight
Characters: Angel, Stephen, Richard, Clarisse, Lyle, Teddy, Cheryl
Function: Plot developraent
Action: Stephen enters the cafe and announces the arrival of a
"couple of wierdos" who have pushed their van into Lyle's
station. By referring to Teddy and Cheryl in negative
terras, Stephen introduces the conflict. Teddy and Cheryl
enter the cafe to find help with their van. Teddy offers
to replace his generator himself to avoid the discovery of
something hidden in his engine. He pretends recognition
of Clarisse.
Cause for change: Lyle exits.
Unit Nine
Characters: Angel, Stephen, Richard, Clarisse, Teddy, Cheryl
Function: Plot developraent
Action: Teddy antagonizes Richard about his occupation.
Cause for change: Lyle enters.
Unit Ten
Characters: Angel, Stephen, Richard, Clarisse, Teddy, Cheryl, Lyle
Function: Character development
Action: Lyle promotes a "big raan" image of himself by offering
Stephen a loan to help him leave town, Teddy destroys
Lyle's newly gained prestige by reminding Lyle of his
disabiHty.
Cause for change: Lyle exits.
Unit Eleven
Characters: Angel, Stephen, Richard, Clarisse, Teddy, Cheryl
Function: Plot development
Action: Teddy forces Stephen to adrait that he got his tattoo because he was tr^ying to be tough to hide insecurities.
Cause for change: Clarisse rises to leave.
Unit Twelve
Characters:

Angel, Stephen, Richard, Clarisse, Teddy, Cheryl

i
'

Function: Plot development

Action: Teddy tries to keep the Ethredges from leaving by p r e tending interest in Clarisse's vioHn.
Cause for change: Richard and Clarisse exit.
Unit Thirteen
Characters: Angel, Stephen, Richard, Teddy, Cheryl, Lyle
Function: Plot development
Action: Teddy makes idle conversation with Angel to staU for time,
Lyle and Richard enter the diner to look for Richard's car
keys, To get rid of Richard, Lyle mentions seeing them on
the gas pump, Richard leaves to check for the keys outside, Lyle accuses Teddy of taking Richard's keys, and
also of harboring drugs in his van. Teddy threatens to
harm Lyle physicaUy if he does not keep quiet.
Cause for change: Richard and Clarisse enter.
Unit Fourteen
Characters: Angel, Stephen, Richard, Teddy, Cheryl, Lyle, Clarisse
Function: Plot development (crisis)
Action: Richard and Clarisse enter the diner to continue searching
for the missing keys, Teddy purposely insiUts Richard
by asking if he has found the car keys yet. Lyle tells
Richard that "the boy has them." Teddy uses Lyle's unfortunate phrasing to further the confusion by picking up
Stephen and t'urning him upside down to shake the keys
from Stephen's pockets. Teddy drops Stephen, and Richard
deraands his keys back, Teddy refuses to give back the
keys unless Richard will pay him three hundred doUars on
the pretext that the cash registers in the diner and gas
station do not have enough raoney in them to cover Teddy's
needs. Richard refuses to pay an-ything, so Teddy tantaHzes him by holding out the missing keys within Richard's
grasp. Richard tries to grab the keys and fails. He tries
to go around Teddy and out the door. Teddy blocks his
atterapt and trips hira onto the floor. Because Angel thinks
Clarisse and Richard deserve better treatraent, she suddenly
runs for the door to get help. However, Cheryl catches
her before she gets very far, WhUe Teddy's attention is
on Angel, Richard rises from the floor and slaps Teddy in
the face, supposedly causing Teddy to drop the keys which
Richard iramediately retrieves, Because Teddy dropped the
keys so readUy Richard assumes he has coraplete control of
the situation and threatens to caU the poHce when he leaves,
giving Teddy a smaU margin of tirae in which to escape.

^
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43

Kowever, Teddy is through pla-ying garaes and puUs a

revolver frora his pocket and points it at Richard and deraands his money. For the second time Richard misjudges
Teddy and challenges him to shoot rather than pa^ying up.
Teddy shoots Richard, When the gun is fired, there is
a black-out so that no one knows how seriously Richard
is hurt.
Cause for change: The end of Act One
Unit Fifteen
Characters: Angel, Stephen, Teddy, Cheryl, Richard, Clarisse, Lyle
Function: Plot development
Action: Teddy is wolfing down his breakfast and carrying on a conversation with himself to clearly deraonstrate his control of
the situation. Cheryl is nervously holding the gun on the
rest of the group. Her nervousness suggests that she too
feels that Teddy has gone too far. Lyle, Clarisse, and
Angel are attending Richard's arm wound. The fact that
Teddy shot Richard in the arm rather than kiUing him,
which he had the opportunity to do, suggests that Teddy
intended the wound to have more humiHation value than to
cause real harm. Teddy's choice of wound has completely
stripped Richard of his forraer bravery and superiority.
Cause for change: Cheryl complains that someone is staring at her
breasts.
Unit Sixteen
Characters: Angel, Stephen, Teddy, Cheryl, Richard, Clarisse, Lyle
Fiinction: Plot development
Action: Cheryl tries to convince Teddy that it is past time to leave.
Teddy sends her with Lyle to fix the van. He sends the
gun with her, again demonstrating his complete control of the
situation.
Cause for change: Lyle and Cheryl exit.
Unit Seventeen
Characters: Angel, Stephen, Teddy, Richard, Clarisse
Function: Character developraent
Action: Stephen suddenly shows a change in his attitude toward
Teddy. Stephen asks Teddy if he was in the war. Teddy
momentarily recognizes the similarities between hiraself and
Stephen and nurtures Stephen's new admiration by teUing
him amusing college meraories. However, when Teddy reraerabers war experiences he turns against Stephen once again.

tt
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Cause for c h a n g e :

T e d d y signals Angel for more coffee,

t h e subject.

changtng

Unit Eighteen
C h a r a c t e r s : A n g e l , S t e p h e n , T e d d y , R i c h a r d , Clarisse
F u n c t i o n : Plot development
Action: T e d d y forces Angel to face realities about herself b y telHng
her t h a t no one wUI e v e r m a r r y her because s h e is fat.
Cause for c h a n g e : Richard i n t e r r u p t s .
Unit Nineteen
C h a r a c t e r s : Angel, S t e p h e n , T e d d y , R i c h a r d , Clarisse
F u n c t i o n : Plot development
Action: T e d d y forces S t e p h e n and Angel to enact a Red R y d e r mo-vie
scene to show Angel S t e p h e n ' s d i s i n t e r e s t in h e r , and to
huraiHate S t e p h e n .
Cause for c h a n g e : T e d d y terrainates t h e action.
Unit Twenty
C h a r a c t e r s : Angel, S t e p h e n , T e d d y , R i c h a r d , Clarisse
Fiinction: Plot development
Action: T e d d y forces Clarisse to replace Angel and kisses her to
enrage Richard.
Cause for c h a n g e : T e d d y terminates t h e action,
Unit T w e n t y - O n e
C h a r a c t e r s : Angel, S t e p h e n , T e d d y , R i c h a r d , Clarisse
Function: Plot development
Action: T e d d y forces Stephen and Angel to enact the same movie
s e q u e n c e again. Angel refuses to kiss S t e p h e n because s h e
finaUy realizes her own d i s g r a c e .
Cause for c h a n g e : T e d d y terminates t h e action.
Unit Twenty-Two
C h a r a c t e r s : Angel, S t e p h e n , T e d d y , R i c h a r d , Clarisse
Function: Plot development
Action: While T e d d y expounds on t h e lost t r a d i t i o n of t h e heroic
m-yth, Richard and Clarisse plan to e s c a p e .
Cause for c h a n g e : T e d d y notices and begins a conversation with
Richard.

45

Unit Twenty-Three
Characters: Angel, Stephen, Teddy, Richard, Clarisse
Function: Plot development
Action: Richard finaUy stands up to Teddy. Teddy threatens to
make the situation worse by having Stephen make love to
Clarisse. Stephen runs for the door.
Cause for change: Clarisse verbally attacks Teddy.
Unit Twenty-Four
Characters: Angel, Stephen, Teddy, Richard, Clarisse
F-unction: Plot development
Action: Clarisse dares Richard publicly to change the situation.
She admits she no longer trusts him.
Cause for change: Richard walks away from Clarisse.
Unit Twenty-Five
Characters: Angel, Stephen, Teddy, Richard, Clarisse, Cheryl, Lyle.
Function: Plot development
Action: Teddy forces eveiryone to dance. Ke dances with Clarisse
in a humiliating way, reducing her self-esteem even more and
demonstrating that since she has insulted her husband she
is fair game.

Cause for change:

H
f
;;!
c
'-'
'.

Clarisse finally gets away from Teddy.

Unit Twenty-Six

^
d

Characters: Angel, Stephen, Teddy, Richard, Clarisse, Cheryl, Lyle

Function: Plot developraent
Action: Teddy forces Cheryl to dance showing her that she is no
better than the r e s t . Teddy forces Richard to dance with
Clarisse; he becomes carried away and beats up Richard
and disrobes Clarisse to show the other characters that he
is capable of anything. Disgusted with their inability to
stop him, Teddy puUs the plug on the juke box ending the
dajice.

Cause for change:

Teddy decides to tie everyone up and leave .

Unit Twenty-Seven
Characters: Angel, Stephen, Teddy, Richard, Clarisse, Cheryl, Lyle
Function: Plot development
Action: Teddy raakes Stephen help tape up Angel and the others to
create a situation in which he has to give Stephen a weapon.

46

T e d d y t h r o w s a knife at S t e p h e n ' s feet clearly hoping he

wiU t a k e t h e o o p o r t u n i t y . Stephen however h e s i t a t e s a n d
T e d d y moves to t a p e up R i c h a r d . Lyle t r i e s for t h e last
time to b e excused on account of his disabiHty; however,
b e c a u s e T e d d y has seen t h r o u g h Lyle's f r a u d , he i n s t r u c t s
S t e p h e n to t a p e him u p , t o o . While taping u p C l a r i s s e ,
T e d d y apologizes to h e r for destro-ying h e r iUusions; a l t h o u g h he is not triUy s o r r y , it is an admittance of a bond
t h a t h a s developed between them, T e d d y h o g t i e s Richard
on t h e floor to deliver t h e final humiHation.
Cause for c h a n g e : T e d d y a d d r e s s e s S t e p h e n .

1
I

Unit T w e n t y - E i g h t
C h a r a c t e r s : Angel, S t e p h e n , T e d d y , R i c h a r d , C l a r i s s e , C h e r y l , Lyle
Function: Plot development (cliraax)
Action: Because S t e p h e n woiUd not t a k e the initiative to attack T e d d y ,
T e d d y s t i c k s a l a r g e b u t c h e r knife in t h e counter and t u r n s
his back to S t e p h e n , making it easy to a t t a c k him. S t e p h e n
finally accepts t h e challenge, taking some action in his Hfe
for t h e first tirae and r u s h e s T e d d y , T e d d y blocks his attack and wrestles him to t h e floor, where T e d d y momentarily
loses control and whips out his gun to shoot S t e p h e n in t h e
face, Cheryl r e a c t s b y caUing out to T e d d y ; this causes
him to p a u s e and regain some clarity on t h e s i t u a t i o n , and
he decides to allow S t e p h e n to live. T e d d y t u m s S t e p h e n
face down on the floor to make him as uncomfortable as possible and tapes him u p .
Cause for change: Teddy turns his attention to Cheryl.

^
l^
%
j:,
",
!
^,
i

Unit Twenty-Nine
Characters: Angel, Stephen, Teddy, Richard, Clarisse, Cheryl, Lyle
Function: Plot development
Action: Teddy tries to auction off Cheryl to Lyle to shock her into
doing what he wants. Because of this she rushes to empty
Richard's pockets and then hides behind the counter. Teddy
asks her if she is ready to leave, and she refuses to leave
with him, because he has finaUy gone too far even with h e r .
In anger Teddy rips out the phone receiver to prevent them
from calHng for help and he pauses to drive his point about
change home to Stephen for the last time. Stephen by now
has clearly gotten the message and answers "Never" to Teddy's
question, "When You Comin Back, Red Ryder?"
Cause for change: Teddy exits.

:||;|

m-

47

Unit Thirty
Characters: Angel, Stephen, Richard, Clarisse, Cheryl, Lyle, Mr. Clark
Function: Plot denoueraent
Action: Cheryl regrets her decision not to leave with Teddy and runs
to the door. Kowever, he has already gone. She debates
her chances if she unties Lyle, who has shown interest in
h e r , but as she reaches for the knife to xmtie hira Mr. Clark
enters, Mr. Clark sees the taped up group and rushes
first to the cash register tn fear that he has been robbed,
demonstrating his value system. When he is satisfied that
his raoney is still there, he unties Stephen to find out what
happened. Stephen unties Lyle as Mr. Clark unties Angel.
Angel points out to Mr. Clark that Richard was shot. Mr.
Clark unties Richard who immediately resumes his superior
attitude and demands some action be taken.
Cause for change: Lyle exits.
Unit Thirty-One
Characters: Angel, Stephen, Richard, Clarisse, Cheryl, Mr. Clark
Function: Plot denouement
Action: Mr. Clark accuses Stephen of faiHng to do his duty concerning the robbery. This reminds Richard of his own failings
and he tries to shut them up. Clarisse defends Stephen and
Mr. Clark, and Richard's superior facade is broken. FinaHy expressing his humiHation and frustration, he attempts
to smash Clarisse's vioHn agatnst the counter. Stephen
rescues the instrument; Richard takes this as the final blow
and returns dejected to the back of the diner. Clarisse,
clearly thankfiU for Stephen's help , takes the vioHn frora
hira.
Cause for change: Lyle enters.
Unit Thirty-Two
Characters: Angel, Stephen, Richard, Clarisse, Cheryl, Mr. Clark, Lyle
Function: Plot denouement
Action: Stephen raakes the decision to leave and asks Clarisse for a
ride to Baton Rouge. She agrees.
Cause for change: Richard and Clarisse exit.
Unit Thh-ty-Three
Characters: Angel, Stephen, Cheryl, Mr. Clark, Lyle
Function: Plot denouement

48

Action:

Stephen teUs Mr. Clark off, thereby accomplishing aU of

the daydreams he talked of earlier in the play.
Cause for change: Mr. Clark exits with Cheryl.
Unit Thirty-Four
Characters: Angel, Stephen, Lyle
Function: Plot denouement
Action: Angel expresses her care for Stephen before he leaves.
Stephen returns to the counter and hugs her shoulders,
admitting his care for her, too.
Cause for change: Stephen exits.
Unit Thirty-Five
Characters: Angel, Lyle
Function: Plot denouement
Action: Lyle tries to cheer Angel up by assuring her that Stephen
wUl be better off in Baton Rouge, Ke tries to resume the
normal pattern of their Hves by inviting her to come over
that evening to watch television, Angel refuses the in-vitation, demonstrating her choice to change the patterns of her
life.
Cause for change: Lyle exits.
Unit Thirty-Six
Characters: Angel
Function: Character development
Action: Angel looks dejectedly around the diner: she goes to Stephen's
area of the counter and eats his donut, Although she has
made some steps toward change, her final solace is in food,
Cause for change: The end of Act Two
During the working rehearsal period, the cast concentrated solely
on three or perhaps four of the above units tn an evening rather than
an entire act,

The actors would repeat Unit One for example several

tiraes until the appropriate tiraing on certain Hnes and stage business
was achieved,

When they reached a level of command with one unit, the

next section was tncorporated.

By concentrating on the specific action

of each unit, general moveraent was adjusted and individual role interpretations were refined.

49

Character Developraent
Individual role tnterpretation was developed in working rehearsals
by encouraging the cast to identify any of thetr character's personaHty
traits that were closest to their own and to apply these qualities throughout their character action.
moments of the action.

Often these traits were inappropriate for

However, by focusing on a personaHty trait,

actors were prevented from utiHzing surface physicaHzation to express

the meaning of their lines.

Instead they had to arrive at an under-

standing within themselves of that key connection with their character.

When this occurred through repeated rehearsals, the actors understood
why they related to specific character action and they could incorporate
the rest of the script into this frame of reference.
Because each actor was focused on understanding his role rather
than some physical expression of the action, each developed a natural
incHnation to seek spontaneous coramunication with others on stage.
What one actor brought to his role shaped and toned the development
of the other characters.

For instance, the development of Teddy's

aggression toward Richard relied on how Brad CampbeU as Richard

reacted to Pat Reraraert as Teddy within the structure of the script.
Teddy
Pat Reramert identified with the Hghter, more comical aspects of
Teddy, such as those found in Teddy's initial conversations with the
"diner employees and patrons.

Reraraert was encoxiraged to utilize this

Hght-hearted frame of reference as an approach to Teddy's violent tendencies.

Although at ftrst this approach seemed sHghtly incongruent

50

with script demands, Remraert's personal aversion to this aspect of

Teddy was avoided.

Therefore, Reraraert was able to discover the

appropriate raotivation for Teddy's action.

AIso, this approach sup-

pHed Reramert with a means for obtatntng a consistency in characterization.

In Reraraert's portrayal, Teddy's coraical moments were never

free of an undercurrent of violence, and Teddy's explosions flew unexpectedly out of teasing.

Pat Remmert's characterization of Teddy

became totally unpredictable.

For several reasons, Remraert could not accept the premise that
Teddy's behavior toward the other characters was senseless cruelty for
its own sake.
ignorant.

Cruelty for its own sake suggested someone brutish and

Remraert knw from the vocabulary Teddy used that he was

educated and intelligent.

Examples of Teddy's vast vocabulary are

scattered throughout the script.

When commenting on Stephen's dated

style of dress and tnappropriate tattoo, Teddy calls Stephen "a walking
metaphor."

Later tn the script, Teddy refers to Richard's atterapt to

rescue Stephen and Angel as "gratuitous bravado."

word choices of a derelict.

These are not the

In the second act, Teddy further clarifies

the question of his background by talking about his college memories.

If Teddy was an educated, sensitive man, then his confrontations with
the other characters served a purpose.

Remraert arrived at an under-

standing that this was a desperate attempt to coramunicate with the

individuals and further an attempt to effect change in them.
desperation is evident tn several ways.

Teddy's

Kis explosive nat-ure is deraon-

strated when he slaps Stephen off his stool at one point and later when

51
he attacks Richard in the dance sequence and disrobes Clarisse.

When

Teddy shoots Richard at the end of the first act, it cotUd be interpreted
that he is a man with nothing left to lose.

In fact, the entire situation

in which he holds the others captive and plays cowboy garaes suggests
his attitude.
The personal nature of Teddy's attacks on the other characters
suggests another eleraent.

Teddy attacks Angel with comraents about

her weight and asks her if she thinks anyone wiU ever raarry her.

Kis

answer, "No, nobody ever wUI" seeras cruel; yet it is an atterapt to

awaken her to the realities of her life.
Teddy expresses even more concern for Stephen by trying to
shake him out of his daydreams and into any action before it becomes
too late for Stephen to change,

He gives Stephen the final opportunity

to demonstrate the abiHty to change when he chaUenges Stephen to

attack him with a knife at the end of Act Two,
The attacks on Angel, Stephen, and the other characters potnt
to Teddy's desperate effort to supply stimxUus for others to change
when he has become trapped in his own existence,

These attacks were

the only expression of care Teddy has left,

Because the role of Teddy is the antagonistic element of the play
and because he served the cHmactic function of catalyst for change,
it was essential that Reraraert develop a complete understanding of the
role in his own terras,

By encouraging the cast to develop an aptitude

for spontaneous interraction the levels of tntensity which Reraraert

reached were received with an appropriate level of reaction frora every

other character.

Early in rehearsals, for example, Brad Campbell and

David Graham were instructed to stop giving Reramert reactions which

they did not feel.

In this way, Remraert was forced to look for levels

in his character action which would personally move one of them,

example was the "tattoo" scene,

An

Graham had a tendency to act fright-

ened because the scene caUed for that reaction frora his character,
However, by instructing Grahara to hold back any reaction until Remraert
reached a level of intimidation which inspired some real reaction in hira,
the two actors learned the actual eraotional impact in that scene together.
They could always find it because it woxUd have to be re-experienced
each time they went through the scene,

If Remmert was not particiUarly

frightening on an occasion, Grahara's reaction was not partic-ularly

frightened,
By basing the level of eraotional impact of a scene within the
boundaries of the personaHties experiencing it, the scene could always
achieve a level of credibUity.
throughout the play,

This type of open awareness was utiHzed

It worked as a cohesion for individual efforts

and allowed for appropriate draraatic buUd and pacing.

Stephen
David Graham seemed to identify most with the smart aleck "tough
guy" image of Stephen, promoted to cover up his insecurities.

One of

Stephen's most revealing character moments is when he talks about

owning his own Corvette and Hving in his own apartraent.

Kis desire

to be someone admired and special is expressed throughout the first act.

53

Stephen expounds on his desire for change without having the

strength to put his drearas into reality.

Lyle has offered Stephen a

job at the gas station raany tiraes, which Stephen always turns down
under the pretense that he is going after something bigger in life.
When Stephen talks about a good job in Baton Rouge, and Angel and
Lyle point out that there would be no difference tn his existence, he
walks out of the cafe.

Stephen also uses buying his mother a car as

an excuse to forestaU change.

Graham's most difficult raoraents with Stephen occurred when he
had to express his sensitivities.

He was highly successful at aUowing

the sensitive aspects of Stephen on stage when Stephen was watching

the action.

However, Graham had a tendency to play the effect of an

emotion to achieve character action, such as Stephen's decision to t r y

to stab Teddy, rather than expressing whatever he personally felt tn
the experience of the action.
Teddy strips Stephen of aU of his surface toughness.

Because

he can no longer hide behind an image he had been promoting of hiraself, Stephen's only choice is to change.

When Stephen tries to stab

Teddy, although he fails, he has finally broken his habit of constant

inactivity and takes active control of his Hfe.

Ke takes the loan frora

Lyle and leaves to get the job in Baton Rouge.

Angel
Terry Tittle retained her abiHty to express personal vulnerability
throughout the entire rehearsal process.
of Angel carae naturaUy to her.

The innocent, sweet qualities

However, she had difficiUty relattng

54

to David Grahara in the exposition scenes at the beginning of Act One.

Ms. Tittle felt that Graham's angry sarcastic characterization expressed
a true disHke for Angel rather than a teasing pretense.
ficulty finding any basis for developing thetr relationship.

She had difBecause

Grahara seemed locked into his interpretation, Ms. Tittle had to explore
the possibiHties of answering Stephen's sarcasra with Angel's variety of
the same,

This choice suppHed the necessary basis for Stephen and

Angel's comradery later in the play.

This experience also opened up

Ms. Tittle's interpretation to include the strength of Angelher practicaHty and straightforwardness.
Angel expresses her practical nature by saying "I think it's stupid calHn' someone with brown hair Red."

She also shows a certain

araount of strength when she tells Stephen he is "out of style" with

the new t r e n d s .

This latter coraraent shows that Angel is aware of

outside developraents to sorae extent and suggests that her isolated

existence is partly out of choice.

Although Angel hides behind a guise

of ignorance and innocence to protect her illusions of satisfaction, she

is more wilHng than Stephen to admit them,

When Teddy insinuates

that Angel has a weight problem, she faces it dtrectly by stating "You
mean when did I start to get fat."

After Teddy teUs her no one wiU

ever marry her because of her weight problem and she faces the reaHty
of this when Stephen refuses to kiss her, Angel elects to change,

At

the end of Act Two she breaks the pattern of her existence for the first
time by refusing Lyle's invitation to come to his house and watch television.

55
Lyle
Lyle's g r e a t e s t c h a r a c t e r Ulusion is his h a n d i c a p ,

When T e d d y

a s k s Lyle how he came to have a leg b r a c e and c r u t c h , Lyle a n s w e r s

"a mild s t r o k e in ' 4 5 . "

T h e fact t h a t a mild s t r o k e has left him with

a p e r m a n e n t disabiHty s u g g e s t s t h a t Lyle is capitalizing upon it, r a t h e r

t h a n actually being c r i p p l e d .
Lyle fairly late in r e h e a r s a l s .
new i n s i g h t

David Cooney discovered this aspect of

Although he tried to work with t h i s

in raany w a y s , he had r e h e a r s e d for too long as an a c -

tual cripple to effectively change t h e physicalization.

Lyle clearly enjoys pla'ying t h e "big man" image to S t e p h e n b y
offering him jobs and l o a n s .

Ke t r i e s t h e sarae a p p r o a c h with T e d d y .

When he t a k e s a p a r t T e d d y ' s van engine and discovers t h e d o p e , he

t r i e s to use this knowledge to get t h e E t h r e d g e s ' k e y s b a c k , even
t h o u g h t h e situation has already evolved too far.
David Cooney's difficulty with Lyle continued t h r o u g h o u t p e r formances and resiUted in inconsistent characterization.

He had a v e r y

n a t u r a l a p p r o a c h to t h e c h a r a c t e r when r e h e a r s a l s b e g a n .
oped

As he d e v e l -

t h r o u g h t h e exploration week and working r e h e a r s a l s , he added

d e p t h to his c h a r a c t e r i z a t i o n .

Kowever, in performance he c h a n g e d

a p p r o a c h e s to Hnes, movement, and interaction

frequently.

Cheryl
C h e r y l is more of a reinforcing image for T e d d y t h a n a completely
drawn c h a r a c t e r .

T h e r e were few i n s i g h t s in t h e s c r i p t to aid S a r a

O'Neil in h e r c h a r a c t e r development.

T h e r e f o r e . most of her role i n t e r -

p r e t a t i o n was b a s e d frora t h e exploration of h e r memories at eighteen and

from t h e p e r s o n a l i t y conflict between herself and Pat Reramert.

56
In the play, Cheryl has very Httle influence over Teddy.

She

tries in vain to raake him behave when they first enter the diner.

She

tries once again without success to influence him during the dance sequence in the second act.

Both of these situations suggest that she

does not mean very much to Teddy.

There are impHcations throughout

the play that their relationship was formulated out of convenience rather
than more serious considerations.

Teddy states this fact to Cheryl when

he forcps her to dance with Stephen,

too, darUn."

He says, ". . .you functional

The raost reveaUng character action for Cheryl is her

refusal to leave with Teddy at the end of the play.

This was an asser-

tive step by Cheryl and a new insight into her character.

The role of

Cheryl is important because her alienation is the final raeasure of

Teddy's influence in the play.
Richard
Brad CarapbeU was able to reach an understanding of Richard's
strengths by applying the quaHties he had given Teddy in auditions
to his interprtation of Richard.

Campbell seemed to identify raost

with the character traits present in Richard thoughout Act One.

In

these beginning scenes Richard is very much a pretentious middleclass conforraist.

He advertises his wealth, controls his wife, and

exudes an air of superiority.

Richard treats Clarisse Hke a possession.

First they have to

sit where he wants to sit when they enter the diner.

He orders break-

fast for Clarisse with little consideration for what her wishes are.
finally he answers aU of Teddy's questions directed to her.

In the

And,

57

fight between them in the second act, he continues this attitude toward
her, ordering her to sit down and be quiet without registering anything she s a y s .

When he gets no response to his comraand, his final

effort to stop her attack is "You're erabarrassing me!"

placing the

importance of the situation on his viewpoint.

In his initial conversations with Teddy he assumes a superior
attitude.

He accuses Teddy of being "condescending" and then conde-

scends to Teddy by asking him if he will "behave" himself whUe looking

at the violin.

Richard's irapression of hiraself as well as his judgraent

of other people is short-sighted.

He brags about the price of the

vioHn to flaunt his wealth, then becoraes indignant because Teddy demands three hundred dollars to return Richard's car keys.

His worst

judgment is at the end of Act One when he tries to bl'uff Teddy who
has a gun in his hand.
Although Teddy reduces Richard's arrogance considerably throughout the second act, as soon as Teddy leaves, Richard reassumes his
superior attitude.

Key Hnes to signify this are "I don't trust that man,"

and "I wotUdn't want to put you outany of you,"

and Stephen to "shut up" when they begtn to argue.

Ke teUs Mr. Clark

However, when

Clarisse intervenes in their behalf, Richard's facade is finaUy broken.

He expresses his true feeHngs of humiHation and frustration by trying
to smash her vioHn against the counter.

The vioHn is a symbol for

Richard in Act One of his wealth and power.

Teddy has changed that

s-yrobol in Act Two to represent Richard's impotence.

58

Clarisse
Tamblyn Hayes was encouraged to look for ways to express her
personal energy in character situations in which she had no Hnes.
This helped her to develop a through-Iine of action for her character
in speaking and non-speaking portions of the play.
In the beginning of the play, Clarisse is overshadowed by Richard.
This relationship seems to have evolved through mutual agreement.
Kowever, in the second act as Clarisse recognizes Richard's true weaknesses she becomes more aggressive.

When she finaUy attacks Teddy,

Richard's attitude causes her to challenge Richard to stop Teddy frora

making love to her.

She goes rauch further to suggest that Richard

would be powerless to prevent it.

Her most reveaHng character Hne

is "Haven't I been here, I'ra in trouble too, Richard, and I don't

trust you any more."

This is a public denouncement or Richard's

control over her and an accusaion of his failure as a raan.

Mr. Clark
The character of Mr. Clark is not fuUy developed in the script.
This factor, coupled with T. K. Maynor's unavaiIabUity for the majority
of rehearsals, created a slight styHstic problem.

Although Mr. Maynor

was thoroughly cooperative, he did not have a full opportxinity to

develop in the same vein as the rest of the cast.

Because Mr. Clark's

scenes were isolated partially from the main action, this was not as
detrimental as it might have been.

In the beginning of the play, Mr.

Clark is almost stereotypically drawn.

Ke is the money-conscious boss

who does not pay fair wages but strikes fear in his employees.

In the

59

end of the play there is more opportunity for insight into his character
although his basic image does not progress that rauch. Mr. Clark's
function could almost be classified as coraic reHef.

Ke is most irapor-

tant in the last scene for symboHztng authority which Stephen stands
up to and rejects.
PoHsh Rehearsals
The final week of the working period prior to technical rehearsals, the entire play was rehearsed each evening without interruption.
The purpose of these rehearsals was to integrate the transitional moments between units into a continul Hne of action, to soHdify character
developraent and to obtain a level of consistency with all aspects of the
play.

During this week the personaHzed discussions and evaluations

with each actor concerning his work were replaced by acting notes
given to the entire cast at the close of each rehearsal.

This new pro-

cedure helped to strengthen the cast's sense of self-reHance.

Also,

notes given to one actor at this stage of developraent aided the entire
cast in unif-ying their tndividual efforts.
Performance
The Laboratory Theatre production of When You Corain Back, Red
Ryder? was perforraed for nine consecutive evenings,

The structure of

rehearsals was designed to provide the cast with a method for achieving
consistency in repeated perforraances,

Three primary procedures in the

rehearsal process accompHshed this method,

First, the individual actor's

approach to characterization laid a fovindation for consistency by utiHzing

60

the actor's personal experience as motivation for character action,

Sec-

ond, an ensemble based upon the real Hkes and dislikes of the cast merabers added an element of dependable credibiHty.

Finally, by basing

character interaction upon the spontaneity of the actors as they experienced the action, the appropriate emotional level in any scene was always
defined by the actors in the moment,

The cast achieved a consistency

in performance for eight of the nine performances.

During the ninth performance, Pat Reraraert departed frora his original preraise of Teddy and the structure of the production was destroyed.
Because the role of Teddy was the catalyst for most of the action in the
play, the repercussions of Remmert's departure were serious.

Remraert

created an isolated existence on stage by ignoring the irapact of the

other actors.

Communication between characters was severed.

The

purpose and function of the ensemble was lost, and the other cast merabers were forced into isolation as well.

The production lost its cohesion,

timing and meaning.

The analysis of the events in this performance compared with the
previous evenings is perhaps the best measure of the success of the
directorial approach to this production of When You Comin Back, Red
Ryder?

When an actor becarae isolated in the experience of perforraing

rather than participating, the cohesive structure created by the other

individuals was destroyed and the meaning of the play was obscured.

CHAPTER m
DESIGN
Costumes
Lynn Payton Kimmel designed the costumes for When You Comin
Back, Red Ryder?.

During early production meetings, it was decided

that the cost-umes should reflect the "sixties" style.

Styles of clothing

in this period were one of the most iramediate raeans for the young to
express individuaHty.

Individual expression in clothing ranged from

subtle changes in fashing to outlandish new styles.

To reinforce the

reaHstic acting style, Ms. Kimmel chose to. utiHze subtle irapressions of
the "sixties" styles rather thin relying on stereotyped iraages,
Due to a smaU budget, Ms. Kiramel had to pxUl appropriate clothing
from the existing theatre stock or from the actors' personal closets.
However, despite this design restriction, she achieved a strong statement in color coordination and silhouette appropriate for the play.
Scene Design
Regan Kimmel designed the setting for When You Comin Back,
Red Ryder?

The budget consideration for this element of design

caused some initial difficulties in developing a concept for the production.

Mr. Kimmel wanted to reproduce a diner on stage as close tn

detail to reaHty as possible.

However, this approach, because of his

Hmited budget, was impossible.

By extracting the essential set pieces

61

62

required by the script, such as a phone booth, a counter, booths and

tables, a more obtainable concept was developed.

Kimmel arrived at a

scene design which contained the essential elements for the action of
the play and gave the impression of a working diner without aU of the
realistic details.

He created an environment which directed focus to

the characters and their interaction without violating the reaHstic acting approach.
Mr. Kimmel supplied the major set pieces very early in rehearsals
which not only aided the blocking of the action but also gave the actors
an opportunity to accustom theraselves to the setting.

The opportunity

for the actors to develop famUiarity with the environraent becarae a

valuabl reinforcement for character development.

Terry Tittle, play-

ing the diner waitress, Angel, and David Grahara, Stphen, the fry
cook, were both able to develop a physical relationship with the setting
which enhanced the credibUity that the majority of their experience
revolved around this diner.

Also because Kirarael was ahead of sched-

ule in constructing the set, there was time for careful execution of
finish details which aided the overall standard of the production.
Light Design
Jack P . Hagler designed the Hghts for the production,

Mr.

Hagler began his work in technical rehearsals by attempting some environmental Hghting.

However, due to the liraitations of instrumentation,

he felt it was more important to achieve better general Ulumination of

the action.

Therefore, he sacrificed his earlier attempts at expressing

the appropriate season and time of day tn his Hghting design..

63
The script required a blackout at the end of Act One and the
Hghts had to be brought on at the highest level at the beginning of
Act Two,

These particular cues caused overloads in the system on

several occasions,

AIso, the lighting board caught fire during the

second dress rehearsal and, as a resiUt, Mr, Hagler lost much of his
earUer Hghting capabiHty, which also weakened his design,
Sound
A juke box was the focus of several incidents within the action
of the play,

Kagler wired an actual juke box so that music was pro-

jected from its speakers on stage,

This added a further eleraent b

reaHty to the production,

Country and western music of the period was researched extensively,

However, the actual selection of songs was done by KFYO,

the radio station where a tape was recorded for the play,

Due to con-

siderable equipment failues, it was impossible to screen the rausic for

suitabiHty prior to opening night.

Rehearsal of the music cues was

impossible prior to perforraance as weU.

This situation caused prob-

lems in the execution of some action for several performances.

However,

technical rehearsals with the music equipment during the day eventually
aUeviated this problem.
Properties
In keeping with the styHzation of the scenery, only those properties referred to in the script were used.

Budget considerations

did not faciHtate early rehearsal of the preparation and constiraption of

64

food nor the taping up of the characters in the second act.

However,

during the perforraances, bananas were substituted for eggs and rye
bread for steak.

Though no problems developed from under-rehearsing

stage business with the food, the pacing of the climactic scene in the
second act suffered frora the actors' unfamiHarity with the taping process.
One of the more important props, Clarisse's vioHn, was available
for raost of the rehearsals.

However, the rough handling of this prop

required by the script caused irreparable daraage to the instrument in

rehearsals and another violin was substituted for perforraances.
second instrument incurred no damage.

This

CHAPTER IV
PROMPT BOOK

65

66
GROUND PLAN

STAGE SYMBOLS
SR:

S t a g e Right

indicates a cross

SL:

S t a g e Left

indicates crosss

UR:

Up Right

DR:

Down Right

UL:

Up Left

DL:

Down Left

UC:

Up C e n t e r

DC:

Down Center

CN:

Center
CKARACTER SYMBOLS

A:

Angel

R:

Richard

S:

Stephen

C:

Clarisse

L:

Lyle

c:

Cheryl

CL:

Clark

T:

Teddy

TECHNICAL SYMBOLS
(L. , . )

Light c u e , identified b y nuraber

(S. .,)

Sound c u e , identified b y nuraber

68

MOVEMENT AND BUSINESS

(1) S is on stage as the audience ent e r s . He improvises variotis activi t i e s for twenty minutes Hke
playing the jxUce box, combing his
hair, fixing coffee, playing basketbaU in the back booth. For the
last five minutes before the begiiming of the play, he settles on
the DR corner stool and reads the
newspaper.
(2) A enters and stands by the door.
(3) A X to UC cind hangs up her
sweater.
(4) A X behind the counter, puts away
her purse and begins cleaning off
cotmter.

TECHNICAL CUES
(Ll) House lights are up fuU
when house opens, stage
Hghts are up one-half.
(51) Juke box is pla-ying various
songs d-uring the pre-show
activities,
(L2) House lights dim: as the
stage Hghts are brought up
to t h r e e - f o u r t h s .
(52) Juke box fades out.

69

(Ll)
(Sl)
(1)
ACT ONE
(L2)
(S2)
ANGEL
Good mornin, S t e p h e n . I'm s o r r y I'm late.
daily fight was a Httle off schedule t o d a y ,
God.

My mora and me, our

I said I'm s o r r y , S t e p h e n .

I'm only s i x minutes l a t e .

STEPKEN

Only six

rainutes,

huh?

I got six rainutes to j u s t h a n g around this

joint when ray shift's u p , r i g h t ?

This is really the ktnda dump I'ra gonna

hang around in ray s p a r e time, ain't i t ?

ANGEL
(4)
S t e p h e n , t h a t ' s a p a p e r cup you got y o u r coffee in.
STEPHEN
Clark can afford i t , believe me.
ANGEL
That's not t h e p o i n t , S t e p h e n .

\
70

/
/

MC\-E.ENT AND BUSINESS

(1) X to counter b y S; s h e p o u r s
his coffee from a p a p e r cup into
a g ass c u p .
(2) A X to back booth and begins to
clean.
(3) S X behind c o u n t e r , gets his
cigcirette c a r t o n , and throws his
empty pack to t h e booth A is
cleaning,
(4) A throws empty pack back at S
and X down to DL booth to continue
cleaning,

TECHNICAL CUES

STEPKEN
Oh no?

'^^

Y o u ' r e gonna teU me t h e point t h o u g h , r i g h t ?

Kold itlerarae

get a p e n c i l .
ANGEL
(1) T h e point is t h a t if y o u ' r e drinkin your coffee h e r e , y o u ' r e s u p p o s e d
to use a glass c u p , and if i t ' s to go, y o u ' r e supposed to get c h a r g e d
ftfteen i n s t e a d of ten and ya get one of those five cent p a p e r cups to
take it with you with,

T h a t ' s the point, S t e p h e n ,

STEPHEN
(2)

Yeah, well I'm takin it with me, so where's t h e problem?

ANGEL

Stephen,

What're ya gonna get with your cigarette coupons, Stephenl

Stephen?
STEPKEN
(3)

How many times I gotta tell ya to don't caU me S t e p h e n .

ANGEL

(4).

I don't like callin ya R e d .

I t ' s stupidr - callin soraebody with brown

hair R e d .
STEPHEN
It's my name ain't it?

I don't like S t e p h e n .

kid I had r e d h a i r .
ANGEL
But ya d o n ' t now.

Now ya got brown h a i r .

I like R e d .

When I was a

\
\

72

MOVEMENT AND BUSINESS

(1) S X back to DR stool and s i t s .
(2) A X to DC table and cleans.
(3) A X to t h e DR side of the table
and straightens the chair.
(4) A X to t h e DL stool.

TECHNICAL CUES

73

STEPHEN
But t h e n I d i d , and t h e n ' s when c o u n t s .
ANGEL
Who says t h e n ' s when c o u n t s ?
STEPHEN
The p e r s o n t h a t ' s doin t h e countin!
you. . .Caroline o r .

Namely y o u r s t r u l y !

I don't call

, ,Madge, do I?

ANGEL
(2)
Because t h o s e a r e n ' t my narae.

My narae's Angel, s o - -

STEPHEN
Yeah, well ya d o n ' t look like no angel to me.
ANGEL
(o)

1 can't help t h a t , S t e p h e n .

At least I was naraed my name at b i r t h .

Nobody asked rae if I'd mind bein named Angel, b u t at least

STEPHEN
You could c h a n g e i t , couldn't ya?
ANGEL
What for?

To w h a t ?

STEPHEN
To Mabel,
ANGEL
(4)
How come Mabel?

74

MOVEMENT AND BUSINESS

(1) A sits on t h e DL stool.
(2) A X t h r o u g h t h e counter opening,
(3) A X to UC end of t h e counter,
wipes the cotinter clean.

TECHNICAL CUES

75

STEPHEN
Yeah, . .Mabel.
ANGEL
^"'^Kow come?

You Hke Mabel?

STEPHEN
I hate Mabel.
ANGEL
(2)
Look, S t e p h e n , if y o u ' r e tn s u c h a big h u r r y to get outta h e r e , how
come y o u ' r e j u s t s i t t i n a r o u n d cleaning your t e e t h ?
STEPHEN
Hey, Look, I'U b e gone in a m i n u t e .

I mean if it's too much to ask if

I have a c i g a r e t t e and a cup a coffee tn p e a c e , for c h r i s s a k e , j u s t say s o .

A p e r s o n ' s s u p p o s e d to unwind for two rainutes a d a y , in case you ain't
read t h e latest medical r e p o r t .

If it's too much to ask to just lemrae sit

here in peace for two m i n u t e s , t h e n say s o .

stool somebody was waitin for or a n y t h i n g .

I woiUdn't wanna t a k e up a
C h r i s t , wiU ya look at t h e

waitin line to get on this stool.

ANGEL
(3)
Did you notice w h a t ' s playin at t h e fUms?
STEPHEN
Bunch of c r a p , w h u d d u y a t h i n k ?
ANGEL
I saw ya circle soraethin in t h e gift book t h e o t h e r mornin.

\
76

MOVEMZNT AND BUSINESS

(1) S draws circle in newspaper and
motions for A to come look at it,
(2) A X to cotinter in front of S.

TECHNICAL CUES

STEPHEN

'''^

What gift book?

ANGEL
The Raleigh coupon gift book.
STEPHEN
Hey~com'ere.

There.

Now I just drew a circle on the n e w s p a p e r .

That mean I'm gonna get me t h a t car?

ANGEL
Come on S t e p h e n , tell me.

What're ya gonna get?

STEPHEN
Christ, w h u d d u y o u c a r e what I'm gonna get?
ANGEL
God, S t e p h e n , I'm not t h e FBI or somebody.
about?

J u s t tell me what y o u ' r e gonna g e t , (2)

STEPKEN
Back pack,
ANGEL
What?
STEPHEN
Whuddya, got home fries in your ears?
ANGEL
Just that I d i d n ' t h e a r what you said is all.

What are you so u p s e t

N
\
\,

MOVEMENT AND BUSINESS

TECHNICAL CUES

79

STEPHEN
Back.

Pack.
ANGEL

Who's gettin a b a c k p a c k ?
STEPHEN
The guy down t h e enda t h e c o u n t e r .

Chingado t h e Chicano.

Ke's

hitchin to Guatamala.
ANGEL
You're getttn a b a c k pack ?

How corae ?

STEPHEN
Whuddo people u s u a l l y get a back pack for?
ANGEL
Ya gonna go campin.
STEPHEN
No I ain't gonna go carapin.

I'm gonna go gettin the hell o u t t a t h i s lousy

little town is w h e r e I'm gonna go carapin.

ANGEL
When?

I raean. . . w h e n ?
STEPHEN

When?

J u s t as soon as I get somethin taken care of.

ANGEL

When wiU t h a t be?

80

MOVEMENT AND BUSINESS

(1) A X to t h e UR cabinet.
(2) A X back to S , hands him a d o n u t .
(3) A X t h r o u g h swinging doors.
(4) A e n t e r s t h r o u g h swinging doors
with broom.

TECHNICAL CUES

81

MOVEMENT AND BUSINESS

(5) A X to UR cabinet, leaves broom,
gets coffee pot, x back to S and
pours coffee in glass c u p .
(6) S pours coffee in p a p e r c u p , A
x to the UR cabinet, picks u p the
broom, begins sweeping.

TECHNICAL CUES

82

STEPHEN
When will t h a t be ? When I get it taken care ofwhen d'ya t h i n k ,

Lerarae

have a d o n u t .
ANGEL
Where ya gonna go?
STEPHEN
(2)
Where ara I gonna go ? I'm gonna go hitchin t h a t way or I'ra gonna go
hitchin t h a t way and when I get to sorae place that don't still sraella
TurdviIIe h e r e I'm gonna get me a decent job and I'm gonna make me some
bread.
ANGEL
Rye or whole w h e a t , S t e p h e n ? (3)
STEPHEN
This is some d o n u t .

I t h i n k t h e y glued t h e crumbs t o g e t h e r with Elmer's.

ANGEL
Rye or whole w h e a t , S t e p h e n ? (4)
STEPHEN
Believe me, T h a t ain't

funny.

ANGEL
Don't talk with y o u r mouth full.
STEPHEN
^^^Christ, my coffee's cold.
less'n two m i n u t e s .

How d'ya Hke t h a t ?

I told y a , I'm leavin in

MOVEMENT AND BUSINESS

(1) A X from UR to Ch sweeping.
(2) A stops at corner of the counter.

TECHNICAL CUES

84

ANGEL
That's r i g h t , I forgot.
STEPHEN
Yeah, y e a h .
ANGEL

^You b e t t e r let y o u r h a i r grow and get some different clothes if y o u ' r e

gonna h i t c h somewhere, S t e p h e n .

You're outta s t y l e .

Nobody's gonna

pick up a boy d r e s s e d like you with his hair like y o u r s .

tattoo on his arm t h a t says "Born D e a d . "

And with a

People wear tattoos now t h a t

say "Love and P e a c e , ' ' S t e p h e n not "Born Dead."

STEPHEN
Love and peace m.y Aunt F a n n y ' s b u t t !
pick rae, for C h r i s s a k e ?
what?

And who says I want thera to

You t h i n k I'ra dying for a case a t h e clap, or

I got a coupla h u n d r e d t r u c k d r i v e r s corae t h r o u g h h e r e in t h e

middle of t h e n i g h t that said t h e y ' d aU gimme a ride anytime anywhere

they was goin.

You t h i n k I'm gonna lower myself to ride with t h o s e

other m o r o n s y o u ' r e o u t t a your mind.

(2)

ANGEL
Two h u n d r e d t r u c k d r i v e r ?
that one, S t e p h e n .

U h - u h , I'm s o r r y , I have to call you on

If it wasn't for Lyle's station and his motel, Lyle'd

be our only c u s t o m e r .
STEPKEN
You know, r i g h t ?

C a u s e y o u ' r e h e r e all night whUe I'ra home sacked out

on my r e a r , so y o u know how many t r u c k d r i v e r stUl stop in h e r e , now

ain't that r i g h t ?

85

MOVEMENT AND BUSINESS

(1) A X to S .
(2) S X to the DL chair of t h e DC
table.
(3) A X t h r o u g h t h e cotinter o p e n i n g ,
s h u t s t h e top and p u t s away t h e
broom.
(4) L enters t h r o u g h t h e door.
(5) L X to t h e DL stool at t h e count e r and s i t s .
(6) A X to t h e counter SR of L,

TECHNICAL CUES

86
ANGEL
In the t h r e e weeks since t h e b y - p a s s opened, S t e p h e n , you know exactly
how many c u s t o m e r s you had in t h e n i g h t s ?

You wanna know exactly

how m a n y , S t e p h e n ?
STEPHEN
No C h r i s t , I d o n ' t wanna know how many.

I wanna h a v e two minutes

of peace to r e a d my damn newspaperif t h a t ' s not askin too

that askin too much?

rauch!

Is

If it i s , just say t h e word and I'H get t h e hell

outta h e r e and go to t h e goddamn cemetery or somewhere. (3)

LYLE
(4)
Mornin.

Mornin..

ANGEL .
Good m o m i n , Lyle.
LYLE
^^^Mornin, R e d .

Nice to see Red so chipper this mornin.

What ya got

stuck tn y o u r craw t h i s mornin, Redbird?

ANGEL
How's b u s i n e s s , Lyle?
LYLE
AII eight rooms fuU up last n i g h t .
since t h e b y - p a s s open u p .

T h a t ' s seventeen outta t w e n t y days

Most of 'em already checked o u t .

Hke my new s i g n gonna pay off r i g h t handsomely.

Looks

87

MOVEMENT AND BUSINESS

(1) A X to s t o v e .

TECHNICAL CUES

Q Q

"

STEPHEN
Damn t h i n g ' s h i g h e n o u g h .

Ya o u g h t a get yourself some coUision t n s u r -

ance in case a coupla airplanes c r a s h into i t .

LYLE
Well now, least I don't have bUIboards s t r u n g up and down t h e highway
like d i r t y u n d e r d r a w e r s proclaimin my w h e r e - a b o u t s .
STEPHEN
Don't tell me about i t .
LYLE
"Steak and e g g s o\ir s p e c i a l t y . "

Steak and e g g s ' r e e v e r ' b o d y ' s specialty.

STEPKEN
Yeah, weU d o n ' t teU me about i t . . TeU Clark.^^^
LYLE
You tell C l a r k .

I got enough trouble with ray gas and oU people.

STEPKEN
Yeah, you got it real t o u g h , Lyle.

You lead a real t o u g h Hfe, I'ra

teHin y a .
LYLE
WeU now, if y o u t h i n k i t ' s so easy a life t h a t I lead, Red, I h e r e b y wiU
it to ya for one d a y and let's see how you Hke takin care of an eight
unit motel and a gas and service station e n t t r e b y yourself.

89

MOVEMENT AND BUSINESS

(1) L e x i t s .
(2) S X to the DL booth, s i t s , and
looks out t h e windowi
(3) A X to the door and looks o u t .

TECHNICAL CUES

90

STEPHEN
Keep sittin t h e r e b a b b U n , L y l e , and y o u ' r e gonna miss about fifty dollars
wortha b u s i n e s s from t h a t CadiUac sittin out t h e r e for t h e last half h o u r
waitin for you to quit makin s p e e c h e s and get off your k e i s t e r and give
'em some g a s .
LYLE
Didn't h e a r 'em p-uU u p .
STEPHEN
Came r i g h t o u t t a roora four and d r o v e twenty feet to t h e preraium pximp.
Been s e a r c h i n t h e c o u n t r y s i d e for somebody to fiU that yacht up with
about fifty doUars wortha g a s .
LYLE
Back s h o r t l y ,

Keep my seat warm.

STEPHEN
Yeah, gonna build a fire u n d e r it. ^ ^'
Looks Hke t h e goddamn Queen Mary.

C h r i s t , wiU ya look at t h a t y a c h t .
Ya wanna bet he clears fifty b u c k s

fUHn t h a t t a n k u p ?
ANGEL
^^^They d o n ' t look Hke t h e y o u g h t a be stayin at L y l e ' s , do t h e y ?

STEPHEN
What'sa m a t t e r , t h e old Cripple's ain't good enough for ya now you had
your d e b u t a n t e comin out?

91

MOVEMENT AND BUSINESS

(1) S X to A at the door.
(2) S X to t h e Cn stool,
(3) A X UR behind t h e counter.

TECHNICAL CUES

92

ANGEL
Very f u n n y ,

Stephen.

STEPHEN
Ain't fancy enough for t h e i r CadUIac to sit in fronta nuraber four ofthat
what y o u ' r e sa-yin?
ANGEL
Lyle's i s n ' t e x a c t l y t h e Ramada I n n , ya know.
STEPHEN
^^Yeah?

I'll t a k e i t .

T h e Crip don't want it, let him give it to

rae.

He

ever raentions to ya he's thinkin about givin it away, you toss ray narae in
the hat as a wiUin b e n e f i c e ' r a r y .

C h r i s t , I could reaUy do soraethin with

the layout he 's got.

ANGEL
Why don't ya ask Lyle to h i r e ya on?

I bet he woiUd.

What do you bet

if ya asked hira to h i r e ya on to help out at t h e station and t h e motel,

he'd h i r e y a ,
STEPHEN
(2^
I told y a , I'm hitchin o u t t a h e r e , ^ '
workin for t h e o t h e r g u y .

T h e next job I g e t , it's gonna be working for

Number One h e r e .
ANGEL
(3)
Oh yeah?

And after this deal I'm t h r o u g h

What're ya gonna do?

93

MOVEMENT AND BUSINESS

(1) S X to Cn.
(2) S X to door.
(3) S X back to the Cn stool and s i t s .

TECHNICAL CUES

94

STEPHEN
Don't w o r r y about me.

Okay?

ANGEL
Yea, b u t w h a t ' r e ya gonna do^, S t e p h e n ?
STEPHEN
What am I gonna do?

I'm gonna corae drivin up to y o u r door one day

in a Chevrolet C o r v e t t e Sting Ray convertible t h e color of raoney is what

I'm gonna d o ,

T h e n I'm gonna r e v up t h a t four-ten engine t h r o u g h my

glass-pack mufflers and I'm gonna lay about four h u n d r e d feet a r u b b e r

down y o u r s t r e e t .

A n y b o d y pull a s t u n t like t h a t on your s t r e e t one

(2)
day, you b e s u r e and teU 'em who it w a s .
You tell 'em it was Red
Ryder, e v e r y b o d y , d r i v i n a Chevrolet Corvette Sting Ray convertible t h e
color of money and livin in his own apartraent.

You be s u r e and tell 'era.

ANGEL
rU teU them, S t e p h e n .
STEPHEN
You teU 'em it was Red R y d e r and frora now on he's workin for Nuraber
One.
ANGEL
What kinda work's Number One gonna be doin t h o u g h , Stephen?
STEPHEN
^^^And I'U tell ya one t h i n g .

When I'm r e a d y to go, I'ra gonna write a

letter to t h e goddamn company tellin' 'em what t h e heU kinda deal I t h i n k

Clark's givin us out h e r e .

95

MOVEMENT AND BUSINESS

(T) A X DS of S.
(2) A t u m s her back to S,

TECHNICAL CUES

96

ANGEL
Hey, do me a favor,

Never mind t h e company,

here when I'm a r o u n d and tell him off.

J u s t get Mr, Clark in

I'd pay money to see that.^''^^

STEPHEN
I ain't gonna waste my time talkin to Clark.
franchise.

He's j u s t r u n n i n a lousy

When I q u i t , I'm writin a r e g i s t e r e d letter to the company.

I'm writin a r e g i s t e r e d l e t t e r to ole man Foster hisself.

ANGEL
I'd pay t w e n t y b u c k s to see ya r e a d off Mr. Clark.
STEPHEN
You ain't got t w e n t y b u c k s .
ANGEL
You wouldn't c a r e to bet on t h a t , would ya?

(2)

STEPHEN
How much money you get?
stored u p .

You probably got t h r e e , four t h o u s a n d

Ya n e v e r do a damn t h i n g b u t come to work, watch television

with t h a t ole Cripple out t h e r e , and go home to get r e a d y to do t h e sarae

goddaran t h i n g aU o v e r again,
ANGEL
How long you b e e n workin h e r e , Stephen?
STEPHEN
I don't keep t r a c k a tirae.

97

MOVEMENT AND BUSINESS

(1) A t u m s back to S .

TECHNICAL CUES

98
ANGEL
You know how long I been working h e r e ?

Fourteen m o n t h s .

Ya know

how many times I asked Mr. Clark for a raise?

STEPHEN
Your problem is ya s h o u l d n ' t ask him nothin.
ANGEL
He's the b o s s , Stephen
STEPHEN
What you shoiUd do is write a r e g i s t e r e d letter direct to the company.
ANGEL
What should I tell thera ?
STEPHEN
Christ, teU 'em y o u ' r e out h e r e tn goddamn New Mexico gettin t h e royal
shaft from Clark and t h a t either t h e y make him cough up t h a t raise or
they can do you know what with their lousy job.
ANGEL
I think y o u ' r e r i g h t ,

Stephen.

STEPHEN
I know I'm r i g h t .
ANGEL
You should h a v e a raise too.

If t h e y think workin t h e g r a v e y e a r d shift

is easy, let 'em t r y it soraetime.

Who'd Mr. Clark get if you quit?

99

MOVEMENT AND BUSINESS

(1) CL e n t e r s at the door.
(2) CL X UR b y cabinet. A counters
to meet him. CL h a n d s her t h e
chile, and x to the UR cabinet to
get coffee.
(3) A X t h r o u g h the swinging d o o r s .

TECHNICAL CUES

100
STEPHEN
Who?

No o n e , t h a t ' s who.

Ole Clark'd have to work it hisself.

That'd

do my h e a r t good, to see old Clark in h e r e at t h r e e a.m. hashin p o t a t o e s .

I think maybe I'll t h r e a t e n to q m t u n l e s s he gives me a raise and see
what he s a y s to t h a t .
ANGEL
I'II bet he'U give ya one p r e t t y d a r n q m c k , t h a t ' s what I b e t .

You

shoiUd do i t , S t e p h e n .
STEPHEN
I just might do it t o d a y .
ANGEL
Good mornin, Mr. C l a r k .
CLARK
Here's t h e chUe for t h e enchilada lunch special.

Get r i g h t on 'em.

ANGEL
Do it, S t e p h e n , ^ ^ ^
CLARK
That's a five cent cup ya got y o u r coffee t n , Red.
STEPHEN
I was j u s t l e a v i n .
CLARK
Nickels don't grow on t r e e s , b o y ~ I e a s t w i s e not on one a t h e ones in t h e
Clark y a r d .

101

MOVEMENT AND BUSINESS

. (1) CL X back around counter toward
t h e door.
(2) CL stops b y S's stool, S t a k e s
feet off DC stool.
(3) CL e x i t s .
(4) A enters t h r o u g h swinging d o o r s ,
p u t s sign up on DR wall,
(5) A x to S,
(6) A h a n d s S a toothpick.

TECHNICAL CUES

102
STEPHEN
Yeah, Well
CLARK
^ ' B a c k in about an h o u r to check the b o o k s .
with w a t e r .

Couldn't get the milder o n e s .

your feet on her f u r n i t u r e at horae, Red?

sign u p .

Chop, Chop.

(2)

Double cut t h a t chUe

Yore momma let ya stick

Let's get the S u n d a y Special

Be lunch before ya know i t .

Back S h o r t l y . (3)

ANGEL
Boy, Mr. Clark was s u r e in a good mood this m o m i n , wasn't he?
(5)
I s n ' t y o u r g u a r d i a n gonna pick ya up this

raornin?

STEPHEN
My. . . what ?
ANGEL
I don't k n o w .

What do you call hira?

you call him y o u r

Your s t e p f a t h e r .

That's right,

stepfather.

STEPKEN
I caU him R a y .

I don't call him my s t e p f a t h e r .

caUs a n y b o d y " y o u r

stepfather"?

ANGEL
WeU, i s n ' t Ray gonna pick ya up?
STEPHEN
Lemme have one a them t o o t h p i c k s .

I caU him R a y .

Who

103.

MOVEMENT AND BUSINESS

TECHNICAL CUES

104
ANGEL
Who's pickin ya u p ?
STEPHEN
Nobody's pickin me u p .

Somebody gotta pick me up before y o u ' r e h a p p y .

ANGEL
He just always picks ya up on a S u n d a y .
STEPHEN
Two S u n d a y s !
ANGEL
Seems like more n two.
STEPHEN
Two
ANGEL
He's not picktn ya up?
STEPHEN
No, he ain't pickin me u p .
ANGEL
Your mom pickin ya up ?
STEPHEN
Nobody's pickin me u p .

ANGEL
She's got R a y ' s c a r .

My mom don't got a car in t h e first place.

105

MOVEMENT AND BUSINESS

(1) S X to SL chair of DC t a b l e ,
sits facing u p s t a g e .

TECHNICAL CUES

106

STEPHEN
Ray's on v a c a t i o n .
ANGEL
Where'd t h e y go?
STEPHEN
Ray.

Ray.

Not t h e y .

Ray.

Ray went on vacation last Wednesday.

ANGEL
By himself ?
STEPHEN
Yeah, b y hisself.
ANGEL
What do you call t h a t ?
STEPHEN
I don't call it n o t h i n .

Ya gotta a t t a c h a label to it, caU it what t h e y

caU it.
ANGEL
WeU, what do t h e y caU it?
STEPHEN
They call it a legal s e p a r a t i o n .

I caU it a royal screwing of my ole l a d y .

He left h e r with maybe five b u c k s to her name and t h e lousy house

that was h e r e to s t a r t with.
labor.

T h a t ' s some profit for eighteen months h a r d

107

MOVEMENT AND BUSINESS

(1) S X t o ' t h e DR stoo and s i t s .
(2) R and C e n t e r , pause inside t h e
door, t h e n R x up to t h e UC
stool. C x toward t h e DL b o o t h .

TECHNICAL CUES

108
ANGEL
Well, ya could always look at it t h a t people aren't supposed to get paid
for hard l a b o r .
STEPHEN
You think t h a t ' s funny?

I'U teU you a secret:

t h a t atn't f u n n y .

ANGEL
Sometimes I t h i n k my mom and me oughta get a legal s e p a r a t i o n .
STEPKEN
Yeah, t h e n you and t h e Crip could set up Kome Sweet Kome inside his
color television.
ANGEL
Oh S t e p h e n .
STEPHEN
Christ, look w h a t ' s comin.

Put on your ballerina forraal, we're gonna

have a c o n c e r t .
RICHARD
Hi (2)
ANGEL
Good mornin.
RICHARD
Ah-ahgot to sit at t h e c o u n t e r .

109

M G V E I ^ N T AND BUSINESS

TECHNICAL CUES

(1) C X to t h e Cn stool at t h e c o u n t e r
and s i t s .
(2) R sits at t h e UC stool and s i t s .
(3) A X to t h e c o u n t e r between R
and C.

.J

CLARISSE

^^^

R i c h a r d , I ' d rather^"'^
RICHARD
^^^What did I teU y o u .

J u s t smeU t h a t .

ANGEL
Have you e a t e n h e r e b e f o r e or somethin?^(3)'
RICHARD
Oh n o .

I grew u p in New Y o r k .

We had a lot of diners t h e r e .

Spent

a lot of my m i s s p e n t y o u t h h a n g i n g a r o u n d d i n e r s .
ANGEL
What'U it b e ?

Steak and e g g s is o u r s p e c i a l t y .

RICHARD
Hon. . .?
CLARISSE
Just coffee and a d a n i s h .
RICHARD
My wife woiUd like a cup of black coffee, p l e a s e , and a sweet roU t o a s t e d
and b u t t e r e d .
ANGEL
Uh-oh.

T h e s e a r e from y e s t e r d a y stUl.

roll man d o e s n ' t come on S u n d a y .

our specialty a n y w a y .

They're pretty stale.

Sweet

Kow about s t e a k and e g g s ?

That's

111

MOVEMENT AND BUSINESS

(1) A X to t h e s t o v e , b e g i n s p r e p a r ing t h e food.

TECHNICAL CUES

112

CLARISSE
Do you h a v e half a g r a p e f r u i t ?
ANGEL
Sure!
CLARISSE
I'U have t h a t , and an e g g a n d a piece of t o a s t .
RICHARD
AII r i g h t , I t h t n k w e ' r e on our w a y .

T h e g r a p e f r m t , one egg scrambled

d r y , a piece of t o a s t on t h e Hght s i d e , and coffee,

black.

ANGEL
How bout you?

Like to t r y t h e s t e a k and e g g s ?

RICHARD
No, I d o n ' t beHeve s o .

Let me have two eggs scrambled d r y , a couple

of pieces of t o a s t c l o s e r to t o a s t e d than my wife'sa glass of o r a n g e

juice, and black coffee.
ANGEL
Comin u p .
RICHARD
Is t h e r e someplace I can pick up a Sxinday p a p e r ?
ANGEL
Pass the p a p e r ,

Stephen,

113

MOVEMENT AND BUSINESS

(1) A X to S t a k e s t h e n e w s p a p e r
frora him and gives it to R. She
t h e n r e t u r n s to t h e s t o v e .
(2) L e n t e r s , x to R.
(3) L X to DL stool and s i t s .

TECHNICAL CUES

114

MOVEMENT AND BUSINESS

(4) S X t h r o u g h c o u n t e r o p e n i n g ,
gets more coffee from UR c a b i n e t ,
ret^urns to DR b e h i n d c o u n t e r .
(5) A X to L with his b r e a k f a s t .

TECHNICAL CUES

115

RICHARD
Oh n o , I d o n ' t want to t a k e his p a p e r .
ANGEL
Stephen.
RICHARD
Isn't t h e r e a machine or
ANGEL
This is t h e customer p a p e r .

He works h e r e .

He can't r e a d a n y w a y .

He j u s t looks at t h e p i c t u r e s .
LYLE
(2)
AU s e t for y a .

Come to eight s e v e n t y - f i v e .

RICHARD
Ahfine.

T h a n k s v e r y much.

LYLE
No t r o u b l e .

K e y ' s in t h e ignition.

AU r i g h t , k i d d o , b r i n g on my

breakfast.^^^
STEPHEN
(4)
Christ, I g o t t a get o u t t a h e r e . ^
ANGEL
You oughta go home and get some s l e e p , S t e p h e n .

(5)

STEPHEN
I ain't talkin about s l e e p ,

I'm talkin about gettin o u t t a h e r e .

116

MOVEMENT AND BUSINESS

(1) S X b a c k to t h e DR stool and s i t s .
(2) S stainds and bows to C t h e n sits
back on stool.

TECHNICAL CUES

117
LYLE
Made u p y o u r mtnd w h e r e y a wanna g o , Red?
STEPHEN
How bout an-ywhere's more'n t e n miles away from this hog t r o u g h ,
ANGEL
How bout as far away as n e x t door?
STEPHEN
Aw, s h u t u p !
LYLE
Hey now, R e d b i r d , t h a t ' s no way to talk to a lady,
STEPHEN
Lady?

(2)

I d o n ' t see no l a d y ,

P a r d o n me, ma'ara, I d i d n ' t see ya s i t -

tin t h e r e ,
LYLE
What is it t h a t y o u ' r e t n s i n u a t i n tn my direction, Angel?
ANGEL
Stephen'U kiU me,
LYLE
Stephen wiH not kiU y a ,

Speak u p ,

ANGEL
I was just tellin S t e p h e n t h a t if he was sick of workin h e r e t h a t why
didn't he ask you if ya could h i r e him on to help ya out with t h e station
and the motel.

118

MOVElvIENT AND BUSINESS

(1) S X to SL chatr of DC t a b l e and
sits.
(2) L t u r n s on stool to face S .

TECHNICAL CUES

119

LYLE
Uh-huh.

That's very int'restin,

indeed.

ANGEL
Could ya do t h a t , Lyle ?
LYLE
Oh y e s u h - h u h , could do t h a t ,
ANGEL
Ya could?
LYLE
I don't s u p p o s e t h a t t h e R e d h e a d has informed ya t h a t not once b u t t h r e e
times I h a v e offered him in t h e last two months to corae to work for rae
in the v e r y c a p a c i t y to which you allude,
STEPHEN
I'm g e t t i n ' o u t t a h e r e .

How many times I gotta tell you g u y s t h a t b e -

fore it s i n k s into y o u r thick s k u l l s .

LYLE
(2)
Where a r e y a goin t h o u g h , son?^ '
STEPHEN
If it's any of y o u r lousy b u s i n e s s , a girl t h a t I went to high school with's
ole lady t h a t moved to Baton Rouge said when t h e y were in for a -visit
at Christmas t h a t if I was e v e r leavin h e r e and wanted to go to work for
her that I should come on o v e r to Baton Rouge and t h e y ' d p u t rae to work
^ a decent j o b .

120

MOVEMENT AND BUSINESS

(1) A X to DR c o r n e r of t h e coxinter.

TECHNICAL CUES

121

ANGEL
What girl's mom?^-'-^
STEPHEN
Kay WUliams'!
ANGEL
She owns a r e s t a u r a n t , Stephen.
STEPHEN
Nooooo. . .
ANGEL
What'd be the difference?

I mean, what'd

STEPHEN
The difference'd be that this is a lousy hog trough and that's a restaurantthat's what'd be the difference.

Ya wear a tuxedo there, for chrissake!

The waitresses wear long skirts and ruffle blouses, not nurses' uniforras.
And ya carry food out on a tray, ya don't sHng hash across a grimy forraica airstrip.
LYLE
Well why don't ya go on and ^ ?

What's holding ya back?

STEPHEN
If it's any of your lousy business, Lyle, I got somethin I gotta take care
of first.
LYLE
Uh-huh, and what's that?

122

123
STEPHEN
And I'U tell y a , when I got t h a t somethin' t a k e n c a r e of, you ain't gonna
have to build no fire u n d e r my b u t t to get me o u t t a h e r e .
LYLE
What is it t h a t ya h a v e to t a k e c a r e of?
STEPHEN
No offense, L y l e , b u t t h a t ' s none of y o u r lousy b u s t n e s s .
LYLE
If it's b u y i n y o u r mamma t h a t automobile. . .Prez Potter and me go back
a lotta w a y , s o n .

He me.ntioned you was in to his lot t h e other

after-

noon. (1)
ANGEL
I hope ya d o n ' t get indigestion from S t e p h e n .

(2)

RICHARD
Oh n o .

Don't w o r r y about i t .

ANGEL
If ya wanna file a complaint or a n y t h i n g , I h a v e forms Mr. Clark
RICHARD
No, n o , d o n ' t b e siUy.
ANGEL
Stephen d o n ' t mean n o t h i n b y aU t h e noise he m a k e s .
niake a lotta n o i s e .

He just n e e d s to

124

MOVEMENT AND BUSINESS

(1) L turns back to counter to finish
his breakfast.
(2) S enters and leans on the upstage door frame.
(3) S X to the DR stool and sits.
(4) T and c enter and pause inside
door.
(5) T X by C and continues to the
corner of the counter and stands
on the rise.
(6) c X to the DR booth and sits.
(7) L stands and shakes T's hand.

TECHNICAL CUES

125

LYLE
I j u s t wish h e ' d p u t u p or s h u t u p .

T h a t ' s aU I ask of him.

A person

oughta p u t up or s h u t u p . ^ '
ANGEL
I wish t h a t if he was gonna go, t h a t he'd j u s t get it o v e r with and go.
STEPHEN
(2)
Hey, L y l e , coupla weirdos j u s t p u s h e d a "VW v a n into t h e s t a t i o n .
Look like j u s t y o u r t y p e .
LYLE
If you was t h e r e , why d i d n ' t ya help 'em?

You know how to pump g a s .

STEPHEN
Like I s a i d , t h e y ain't my t y p e .
They're comin in h e r e . (3)

Aw, sit t h e r e and eat your slop.

Y e s s i r e e - b o b ,, tthhe y s u r e ain't my t y p e .

might be y o u r s b u t t h e y s u r e ain't

raine.

They

(4)

ANGEL
Good mornin.
TEDDY
Mornin, n e i g h b o r s .

P a r d o n me ma'am, b u t . . .

'Scuse me.

now. . .who r u n s t h a t y e r e fiUin station next door?

LYLE
(7)
Right h e r e .

Lyle S t r i k e r , owner p r o p r i e t o r , and janitor.

TEDDY
WeU, s i r , n e e d a r e b u i l t g e n e r a t o r for a VW v a n .

Well

126

MOVEMENT AND BUSINESS

TECHNICAL CUES

127

LYLE
Nothin open t o d a y .

Sunday.

TEDDY
S u n d a y , is it?
LYLE
E v e r ' b o d y sleepin it off or out p r a y i n forgiveness for i t .
TEDDY
Tell ya what I h a d in mind.

T h o u g h t maybe in a town s u c h as y o u r s

a man with a s e r v i c e s t a t i o n , and a good n a t u r e d cripple man to boot,

would be in a position to call up a p a r t s s t o r e on a S u n d a y raornin and
get a p a r t a n y h o w .
LYLE
S'pose I could.
TEDDY
We s u r e l y would a p p r e c i a t e i t .
LYLE
Let's have a look at y o u r Vcin first and make sure
TEDDY
Don't h a v e to look at t h e v a n ,
LYLE
Wouldn't want ya to s p e n d

128

MOVEMENT AND BUSINESS

(1) L e x i t s ,
(2) A X to L's p l a t e , picks it u p .
(3) T X to t h e DR booth and s i t s .
(4) A X to t h e s t o v e .

TECHNICAL CUES

129
TEDDY
Generator's gone, sir.

If you'U be kind enough to get us a r e b u i l t ,

I'U tnstall it myself.

LYLE
Well, s o u n d s like a t o u g h offer to b e a t .

I'U j u s t go on over to t h e s t a -

tion and s e e who I can r o u s e u p ,

TEDDY
Might accomodatin of y a ,
LYLE
Back in a jiffy, A n g e l ,

Don't auction off my eggs now,

ANGEL
What do I h e a r for Mr, Lyle S t r i k e r ' s eggs?
TEDDY
How are y'all t h i s mornin?
ANGEL
Just fine.

How're you folks?

TEDDY
Just fine.

How you?

ANGEL
Fine.

(4)

130

PF'PP

MOVEMENT AND BUSINESS

TECHNICAL CUES

131

TEDDY
That's f i n e .
out h e r e ,

Ya'll seem to h a v e t h e d u s t market p r e t t y well c o r n e r e d

How y o u , kid?

STEPHEN
I'm o k a y ,

dad,

TEDDY
Gladda h e a r i t .
him on T V .

Boy's got a s e n s e of humor, gonna t h i n k about p u t t i n

And how b o u t y o u nice lookin folks?

How you this mornin?

RICHARD
Excellent, t h a n k s .
TEDDY
ExceUent!

E v e r ' b o d y h e r e ' s fine or okay or excellent.

Whudduya t h i n k

that?
CHERYL
Stop i t .
TEDDY
The call h a s gone o u t for me to "stop i t . "
signify b y r a i s i n y o u r h a n d s .
CHERYL
Do you h a v e some coffee?
TEDDY
Looks Hke i t ' s gonna be a close v o t e .

AH y'aU in favor,

kindly

132

MOVEMENT A.ND BUSINESS

(1) A X to UR cabinet and p r e p a r e s
coffee,
(2) A X t h r o u g h t h e c o u n t e r o p e n i n g
to t h e DR b o o t h . S x b e h i n d t h e
c o u n t e r to t h e SL c o r n e r .

TECHNICAL CUES

133

ANGEL
To go or to d r i n k h e r e ?
CHERYL
Jesusto d r i n k h e r e .

Where a r e we gonna go?

ANGEL
Two?
CHERYL
WiU you cut it out!

Do you want coffee?

TEDDY
Yeah.
CHERYL
Two.
ANGEL
Where you folks from?
TEDDY
Istanbul.

Used to b e Constantinople

STEPHEN
You got California p l a t e s ,
TEDDY
Just who a r e y o u , mister?
ANGEL
Where ya headed?^^^

134

( * )

MOVEMENT AND BUSINESS

TECHNICAL CUES

135
TEDDY
Mexico,
ANGEL
Oh, t h a t ' s nice down t h e r e ,
TEDDY
Get a r o u n d a l o t , do y a ?
STEPHEN
Sheet!

S h e n e v e r b e e n o u t t a t h e s t a t e a New Mexico,

She d o n ' t know.

ANGEL
I know more'n you t h i n k , S t e p h e n .

I seen books and I meet a lotta

nice p e o p l e ' v e b e e n t h e r e .
STEPHEN
Sure y a d o .
ANGEL
You folks Wcinna o r d e r somethin to eat?
TEDDY
Don't mind if we d o ,
ANGEL
Steak and e g g s is o u r s p e c i a l t y ,
TEDDY
Steak and e g g s it is t h e n .
Httle f i n g e r s .

And home fries ya sHced up with y o u r own

136

(=XT)

MOVEMENT AND BUSINESS

(1) A X back b e h i n d t h e c o u n t e r and
b e g i n s t o fix b r e a k f a s t .
She
t h r o w s S out as s h e p a s s e s ; he
sits on t h e DR stool again.

TECHNICAL CUES

137

ANGEL
Steph len's fing e r s .
TEDDY
WeU, hell, I'Il t a k e a c h a n c e
ANGEL
Ma'am 7
CHERYL
Yeah- - f i n e .
TEDDY
Now, o v e r easy on them e g g s , d a r l i n , med-jum on that beef.
ANGEL
How bout y o u , ma'am?
CHERYL
Any wayit d o e s n ' t m a t t e r .
TEDDY
You s u r p r i s e h e r , d a r l i n ,

Where you nice lookin folks from San Diego

in that CadUlac C a r headin?

RICHARD
Do you know u s ?

You know, I got t h e feeling when you came in

TEDDY
Saw the San Diego S t a t e Faculty s t i c k e r on t h e b u m p e r .

138

MOVEMENT AND BUSINESS

(1) T X to t h e DL stool and s i t s ,

RICHARD

"^^*^

O h t h a t ' s my w i f e ' s .
TEDDY
Uh-huh,

T h o u g h t for a second t h e r e s h e was my cousin F a y e ,

Headin

back to San Diego, a r e y a ?

RICHARD
New O r l e a n s ,
TEDDY
New O r l e a n s .

Packin a submachine g u n ?

RICHARD
Only a -vioHn, I'm afraid,
TEDDY
Prefer a s u b m a c h i n e g u n , would ya?
RICHARD
I didn't mean I was Hterally afraid
TEDDY
(l)v
l e s , ma'am, I d o n ' t mind sa'yin t h a t you t e n d to remind me a whole
helluva lot of my cousin F e m ,

T h a t must be a mighty ftne fiddle to get

took to b r e a k f a s t with y a .
RICHARD
It's a G u a r n e r i u s .

Sometimes I think ray wife has an added a p p e n d a g e .

140

MOVEMENT AND 3USINESS

(1) T X to t h e door and looks o u t ,
(2) T X to R .
(3) T X to j u s t behind back to DL
booth.

TECHNICAL CUES

141
TEDDY
Lady playin t h e hoe-down c i r c u i t , is she?
CLARISSE
No, I'm
RICHARD
She's going to b e with t h e New Orleans PhUharmonic this summer.
TEDDY
Uncle Clyde Bob and Aunt Cissy must b e mighty proud of y o u ,
Freda.
her?

Cousin

And y o u j u s t goin along to answer t h e t o u g h questions for

J u s t Hvin off t h e Httle woraan's r e s i d u a l s , as it w e r e .
RICHARD

Not q u i t e .
TEDDY
(2)
Not q u i t e . ^ '

D o c t o r , l a w y e r , or Indian chief?

Don't mean to be n o s e y .

RICHARD
No?
TEDDY
Just c u r i o u s .
the time.

J u s t makin a little roadside diner conversation,

Hope y a d o n ' t mind, (3)

.

RICHARD
As of y e t I d o n ' t .

Pass

142

MOVEMENT AND BUSINESS

(1) T X back to R.
(2) T acts out basebaU call as h e x
SR prosceni-um and leans against
it.

TECHNICAL CUES

143
TEDDY
But at some f u t t i r e date you might, . .Gonna jot t h a t down h e r e .
RICHARD
That accent y o u ' r e affecting seeras a form of condencension

aimed at all

of u s ,
TEDDY
Surely n o t .

No law a g a i n s t h a v i n fun, is t h e r e ?

L e a s t w a y s , not y e t .

RICHARD
No.

Not y e t .
TEDDY

May I a s k , what do^ y o u do?

RICHARD
I am in t h e import b u s i n e s s .
TEDDY
Import.

Well weU.

And j u s t what do you import ?

RICHARD
T extiles.
TEDDY
Textiles.

Had you

figured

for an o s t e o p a t h .

figure out what folks got against o s t e o p a t h s .

Never have been able to

Doctor h e r e imports t e x t U e s .

^^^Got me on a caUed t h i r d s t r i k e on t h a t one, all r i g h t .

T h o u g h t it

was a fast baU comin at my head and t h e n s h e s u d d e n l y dives down across

144

MOVEMENT AND BUSINESS

(1) S X to t h e SL chair of t h e DC
table and s i t s .
(2) A X to t h e c o u n t e r b y T .

TECHNICAL CUES

145
the plate and I'm left alookin.
b u d d y in t h e c o r n e r t h e r e ?

Live and l e a r n .

My, my, b u t I Hke y o u r hair s t y l e .

bet t h a t look'll b e b a c k b e f o r e ya know i t .

ya.

And how bout my Httle

RoUed up s l e e v e s , t h e w o r k s .

I'll

Girls'U be climbin aU o v e r

What do you d o , b u d d y ?

ANGEL
He works t h e g r a v e y a r d shift h e r e ,
TEDDY
The g r a v e y a r d s h i f t ,

T h a t ravist be a raight iraportcuit position, Eh,

buddy ?
STEPHEN
^^^Stinks.
TEDDY
Didn't q u i t e c a t c h t h a t .
ANGEL
(2)
He said it s t i n k s w o r k i n ' t h e g r a v e y a r d

shift.

TEDDY
You his a g e n t , honey?

What's t h e b o y ' s long s u i t ?

ANGEL
What do you mean?
TEDDY
WeU, I mean w h a t ' s t h e boy do t h a t ' s so i m - p r e s s i v e t h a t an agent of
your r e p u t a t i o n took him on as a client?

146

MOVEMENT AND BUSINESS

(1) L e n t e r s and x to s t a n d b y t h e
DL stool. A X back to t h e
stove.
(2) T X to s t a n d on t h e rise to
SR of t h e stool.

TECHNICAL CUES

147

ANGEL
I don't k n o w .

What's y o u r long s u i t , S t e p h e n ?

TEDDY
Lad d o e s n ' t talk m u c h , does he?
ANGEL
You shoiUd h e a r him when no one's a r o u n d .
TEDDY
When no o n e ' s a r o u n d or j u s t when someone Hke me's not a r o u n d ?

Like

to listen in one a t h e s e d a y s on a conversation between my little b u d d y

there and my cousin with t h e fiddle.
CLARISSE
I wasn't aware I was -under any obligation to c a r r y on a c o n v e r s a t i o n .
LYLE
Well I d o n ' t mind confessin t h a t our p a r t s s t o r e fella wan't tickled p i n k ,
but he'll h a v e it u p h e r e inside fifteen m i n u t e s .
TEDDY
(2)
ObHged.

Y e s s i r , deeply o - b l i g e d .

LYLE
Service is t h e name o t h e game.
TEDDY
I can believe i t .

148

MOVEMENT ANT) BUSINESS

(1) L sits on t h e DL stool.
(2) T X b a c k and leans ag d n s t SR
proscenium.
A s e r v e s R and C t h e t r food.

:ECHNICAL CUES

149
LYLE
Product lists at t h i r t y - s e v e n fifty, b u t he was in s u c h an almighty h u r r y
to get himself out on t h e l a k e before all the fish is gone, t h a t I jewed
him down to t h i r t y - f i v e .
TEDDY
Doggone if t h a t ain't a b a r g a i n .
LYLE
WeU I always s a y two a n d a half doUar is two and a half doUar.
TEDDY
I'H tell ya t h e t r u t h , n e i g h b o r :

I hope ya don't say it too often,

like to b o r e folks r i g h t o u t t a t h e i r m t n d s .
LYLE
WoiUdn't be a bit s u r p r i s e d .
TEDDY
No s i r , I wouldn't e i t h e r .

(2)

RICHARD
It looks v e r y good.
ANGEL
What?

Ohthank you.
RICHARD

Puts me r i g h t back in h i g h school.

you'd

150

151
LYLE
How much y a s h o r t for t h e c a r , R e d b i r d ?

Prez tells me ya got f o r t y -

five, b u t y a need a n o t h e r t h i r t y .
STEPHEN
Prez is s u r e got hisself a big y a p for a Httle ole wart of a g u y , don't he?
LYLE
You w a n n a get o u t t a h e r e so b a d , R e d , you wanna go to Baton Rouge
and wear a t u x e d o , I'U lend ya t h e t h i r t y doUar and you get y o u r momma
that automobile and get y o u r s e l f o u t t a h e r e .
STEPHEN
Yeah, s u r e ,

At what k i n d a i n t e r e s t ?

LYLE
No i n t e r e s t , s o n .

J u s t a man to man loan,

You just send me back t h e

money when ya c a n .
STEPHEN
I lUce p a y i n my own w a y ,

I don't Hke borrowin from nobody,

LYLE
Just p a y me b a c k when y a c a n .
heck.

Ya forget for a year or so, what t h e

Next time ya r e m e m b e r , ya got the money, s e n d it on back to me.

STEPHEN

I'U h a n g aroTind a while l o n g e r , if ya don't mind, and loan it to myself.

152

MOVEMENT AND BUSINESS

(1) L X to t h e c o r n e r of t h e c o u n t e r ,
and leaves a t i p .

TECKNICAL CUES

153
LYLE
Up to y o u .
STEPHEN
T h a t ' s j u s t t h e way I s e e it t o o .
LYLE
Welp, I'U h e a d on b a c k to t h e station and wait for that g e n e r a t o r .
TEDDY
Much obHged,

Sayhow'd it come, n e i g h b o r , y o u r infirmity t h e r e ?

Infantire p a r a l y s i s as a chUd?
LYLE
Stroke,
TEDDY
Ah.
LYLE
Had a mUd s t r o k e b a c k in f o r t y - f i v e .
TEDDY
Forty-five! q u i t e a y e a r .
LYLE
Just after b r e a k f a s t it w a s .
TEDDY
Helluva way to s t a r t t h e d a y .

154

MOVEMENT AND BUSINESS

(1) L e x i t s ,
(2) T h a n d s c some raoney, c x
to t h e j u k e - b o x to make a selection and s i t s i n t h e DL b o o t h .
(3) T X to t h e SL of S .
(4) S X to t h e c o u n t e r o p e n i n g .
(5) S s t o p s t h e n goes b e h i n d t h e
c o u n t e r to t h e UR c a b i n e t .

TECHNICAL CUES

155

MOVEMENT AND BUSINESS

(6) T X to t h e DR stool and s i t s ,
(7) A X to t h e c o u n t e r in front of T .

TECHNICAL CUES

156
LYLE
I b e t t e r get movin, h e r e .
TEDDY
Nice old c r i p p l e , ain't he?
little b u d d y ?

(2)

So you wanna get outta h e r e , do y a ,

Why d o n ' t ya come on down to Mexico with u s .

STEPHEN
No t h a n k s .
TEDDY
(3)
T h e ole man seeras p r e t t y anxious for you to leave town.
that, boy?

I did,

I noticed t h a t .

Whudduyou make a t h a t ? ^ ^

you got a p a s s to go b e h i n d t h a t c o u n t e r ?
didn't he?

Now t h a t ' s c u r i o u s .

Ya notice
Hey^^^

The ole man called you Red?

Why would somebody caU soraebody else

Red if t h a t somebody else had brown hair?

That short for red n e c k , or

what?
ANGEL
He h a d r e d h a i r when he was a child back tn P i t t s b u r g . . . P e n n s y l v a n i a .
TEDDY
Ahthe o n e in P e n n s y l v a n i a , I s e e ,

But you call him S t e p h e n .

ANGEL
I don't like to call him R e d .
hair R e d . ^"^^

I think it's sUly to caU someone with brown

157

MOVEMENT AND BUSINESS

(1) S X a r o u n d b a c k of t h e c o u n t e r .
(2) S s t o p s between C and R.
(3) S X back to SL chair of DC
table and s i t s .
(4) T X up to R.

TECHNICAL CUES

158
STEPHEN
Shut u p , wiU ya!
TEDDY
Hey now, b o y , d o n ' t t a l k t h a t a w a y ,
friend h e r e , t h e a g e n t ,

I p u r e l y a g r e e with our corpulent

T h a t is p r e t t y siUy, i s n ' t it?

ANGEL
Not if h e Hkes it t h o u g h , I g u e s s .

I just caU him S t e p h e n .

TEDDY
Uh-huh,
ANGEL
His last name's R y d e r .
STEPHEN
I told you to s h u t u p !

(2)

TEDDY
And I told y o u . . . R e d R y d e r !

Goddamn , ( 3 )

ANGEL
It's all r i g h t .

We know each o t h e r .

TEDDY
You remember Red R y d e r , Doc?
RICHARD
Oh y e s .

.L

(4)

159

MOVEMENT AND BUSINESS

(1) T X down to S and p o u n d s his
hand on t h e t a b l e ,
(2) T b a c k s u p to UC b y R , and
walks down to S, affecting a cowboy,
(3) T v e e r s off to look out of t h e
door.
(4) S X toward t h e DR stool.
(5) S s t o p s .
(6) T X to S.

TECHNICAL CUES

160

TEDDY
Boy, I do t o o .

T h e r e was one s t r a i g h t s h o o t e r .

fag and s i n g like Roy and Hoppy.

Didn't d r e s s like a

And that Little BeaverI teU y o u ,

t h e r e was a little r e d s k i n coiUd handle a bow and a r r o w .

What in the

hell h a p p e n e d to t h o s e p e o p l e , Doc?
RICHARD
Gone.
TEDDY
Gone, 3 i r , or d i s p l a c e d ?
had g u t s .

You got g u t s , Red?

a gut scale?

(2)

Red R y d e r .
r a t o r . (3)

I'II tell ya one t h i n g for s u r e , Redthose boys

How would you r a t e your

T h e r e ain't room enough tn this y e r e town for you and me,

So I'm leavin.

J u s t as soon as I get my hoss a new g e n e -

Y o u ' r e a real c h i c k i n s h i t , ain't y a , boy?

STEPHEN
Takes o n e to know o n e . (4)
TEDDY
What in t h e hell is that?^^^
STEPHEN
What?
TEDDY
You got a t a t t o o on y o u r arm t h a t says "Born Dead.
STEPHEN
Noooo.

own self on

(6)

161

MOVEMENT AND BUSINESS

(1) T g r a b s S b y t h e arms and
forces him onto t h e DL stool.
T sits on t h e DR stool.

TECHNICAL CUES

162
TEDDY
Yeah.

Look.

a metaphor is?

B o y , y o u ' r e a walkin metaphor, a i n ' t ya?

You know what

Huh?

STEPHEN
Yeah.
TEDDY
Hogshit.

What's a m e t a p h o r , b o y ?

STEPHEN
WeU if y o u d o n ' t k n o w , I'm s u r e as hell not gonna tell y a .
RICHARD
Do you mind?

We're tr^ying to finish our b r e a k f a s t .

TEDDY
Just talkin to my friend h e r e .
Sorry.

We'U t r y to keep our voices down.

When'd y o u get t h a t tattoo?

STEPHEN

You s c a r e me.
TEDDY
You bet y o u r ass I s c a r e y o u . ^ '
tattoo ?
STEPHEN
Coupla y e a r s a g o .

Now, when'd you get t h a t goddamn

163

'
;

( r'

^
i

.' VO,

MOVEMENT AND BUSINESS

TECHNICAL CUES

164

TEDDY
Where?
STEPHEN
Camival.
TEDDY
Why?
STEPHEN
Felt like i t .
TEDDY
No,

Why?

What'd it mean?

Why'd you pick t h a t one?

STEPHEN
Didn't Hke t h e o t h e r s .
TEDDY
Who you with?
STEPHEN
No o n e .
TEDDY
Goddamn i t , who w e r e you with?
STEPHEN
Davidson.
TEDDY
Big g u y .

165

MOVEMENT AND BUSINESS

(1) T s t a n d s and leans o v e r S .

TECHNICAL CUES

STEPHEN

166

Whadduya mean, big guy ?

TEDDY
I mean Davidson was a big

guy.

BasketbaU, footbaU p l a y e r .

STEPHEN
He w a s n ' t so b i g .
TEDDY
Had a girl with hira.

Good lookin.

STEPHEN
She was all r i g h t ,
TEDDY
Yeah, I'Il bet s h e was all r i g h t ,
Davidson and dot dot d o t . . . y o u .

You and Davidson and h e r .

Yeah.

Ker and

And what'd Davidson get

tattooed on his arm?

STEPHEN
Nothin.
TEDDY
BuUshit,

T h e g i r l ' s name,

STEPHEN
So big d e a l .
TEDDY
And t h e n s h e s a i d , What're you gonna g e t , Red R y d e r ?

" R . R . loves L . B . ?

167

MOVEMENT AND BUSINESS

(1) C s t a n d s u p b y t h e Cn stool.
(2) R s t a n d s and x aroxind t h e end
of c o u n t e r to p a y .
(3) T X to R and C.
S X to t h e DR stool and s i t s .

TECHNICAL .CUES

168
ANGEL
Who's L . B , ?
TEDDY
Little B e a v e r , d a r l t n .

And y o u s a i d , no!because you were plenty

pissed; you s a i d , I'm g e t t i n . , ,I'm gettin t h a t one:

"Born D e a d " ,

You shoiUd've s a i d , I'm p u t t i n y o u r name on my arm too.

You s h o u l d ' v e

said, Goddamn i t , I'm as good as Davidson any d a y , you j u s t gimme t h e

chance t o show y a .

And maybe. . .maybe if you'd said t h a t to enough

p r e t t y little g i r l s , and gotten enough of t h e i r naraes tattooed onto y o u r

b o d y , y o u ' d h a v e s t a r t e d to beHeve you were as good as Davidson.
Even t h o u g h y o u w e r e n ' t .

Never could b e .

Sheeit!

You disappotnt rae,

Red R y d e r .
CLARISSE
R i c h a r d , I'm

finished.

RICHARD
(2)
We're f t n i s h e d .
TEDDY
Aw, come o n , h a v e a n o t h e r cup of coffee.

On me.

RICHARD
Some b i c a r b o n a t e p e r h a p s .
TEDDY
Come o n , d a r H n , s e t Madame Professor and t h e doctor up with some
more of y o u r wonderful coffee.

Pour darHn,

Hey, . .

(3)

take a look at t h a t t h e r e G u a r n e r i u s vioHn before ya go.

Lemme

169

MOVEMENT AND BUSINESS

(1) C sits on t h e UC stool with t h e
vioHn in h e r l a p .
R opens t h e vioHn c a s e .
(2) R closes t h e -violin c a s e .
(3) C s t a n d s u p .
(4) T b a c k s u p t h e p h o n e b o o t h .

TECHNICAL CUES

170

CLARISSE
No, I'm s o r r y .
TEDDY
I ain't gonna hxirt i t .

I j u s t always wanted to have a t n - p e r s o n g a n d e r

at one a t h e m .
RICHARD
Then you'U b e h a v e y o u r s e l f . . . ?
TEDDY
Word of h o n o r .

T h a t musta cost a p r e t t y p e n n y .

RICHARD
I'm not t h r o u g h p a y i n g for it y e t .
TEDDY
How much a mechanism Hke t h a t c o s t , if ya don't mind my askin?
RICHARD
Eleven t h o u s a n d d o U a r s .

(2)

TEDDY
You're k i d d t n g .
CLARISSE
Why should he b e kidding?^^^
TEDDY
Playin t h e fiddle must b e raighty important to y o u , cousin.

(4)

171

MOVEMENT AND BUSINESS

(1) R X to b e h i n d t h e c o u n t e r to p a y
A.
A X to t h e c o u n t e r b y him to
figure out t h e c h e c k .
(2) R X b a c k to C.
(3) T X to t h e door and blocks t h e i r
exit.

TECHNICAL CUES

172
CLARISSE
Yes, it i s .
TEDDY
Why d o n ' t y o u p l a y u s somethin on t h a t t h e r e eleven t h o u s a n d dollar
Why not?
CLARISSE
Can we please get out of h e r e ?
RICHARD
Yes.

We're in a b i g h u r r y .

Maybe you'U catch h e r in concert one of

these d a y s .
TEDDY
Then a g a i n , raaybe I'U catch h e r in something else this d a y .
RICHARD
I'm afraid I d o n ' t foUow y o u .

(2)

TEDDY
I'd be afraid t o o , s i r , i n d e e d I would.

(3)

Now why d o n ' t you make me

a p r e s e n t of t h a t t h e r e -vioHn, cousin, and we'U caU e v e r y t h i n g e v e n .

AU r i g h t , y o u ' r e r i g h t , t h a t ain't fair.

Make it t h e vioHn and a small

monthly allowancebut t h a t ' s all I could a c c e p t .

RICHARD
You h a v e a g r e a t deal of imagination, my f r i e n d .
TEDDY
An i n c r e d i b l e faculty it i s , s i r .

fiddle.

173

y^ /M

@V^

' '^D'

'

MOVEMENT AND BUSINESS

(1) T t u r n s and looks out t h e d o o r .
(2) R X back to t h e end of the coiinter
and p a y s A.
(3) R and C walk a r o u n d T and exit.
(4) T t a k e s c b y t h e h a n d and leads
h e r b a c k to t h e DR b o o t h ; t h e y
sit.

TECHNICAL CUES

174
CHERYL
Teddy.^^^
TEDDY
Generator!

L a n d s a k e s , man's in a h u r r y .

Looks Hke t h e Pony E x p r e s s

man, R e d , p a s s i n t h e maU and hightaUin it off.

WeU, it a p p e a r s you

ain't gonna make me a p r e s e n t of t h a t t h e r e G u a r n e r i u s violtn, s o . . .

tf ya gotta go, t h e y s a y , ya gotta go.

You ever h e a r t h a t o n e , Red?

ANGEL
That'U b e two doUars and s i x t y c e n t s with t a x .
RICHARD
Thank y o u , it was v e r y gpod.

(3)

ANGEL
Thank y o u .

Come see us again.

TEDDY
(4)
How's o u r s t e a k s comin, d a r l t n ?
ANGEL
Almost d o n e .
TEDDY
Good.

Good.
ANGEL

Forty c e n t s .

He give y a a nice tip?

(2)

175

MOVEMENT AND BUSINESS

TECHNICAL CUES

176
TEDDY
Hot d a w g g y ,

What b r o u g h t you out h e r e frora P i t t s b u r g h ,

Pennsylvania,

Red R y d e r ?
ANGEL
His mother had emphysema,
TEDDY
And t h e d e s e r t air c u r e d h e r , did it?
ANGEL
U h - u h , s h e ' s stUl got i t ,

You shoiUd h e a r her cough sometime.

TEDDY
I'm s u r e t h a t ' d be a real t r e a t ,
here of a S u n d a y mornin?

S a y , darlin, what's t h e t r a d e Hke in

Those s t e a k s and eggs come flyin off t h e

gridle?
ANGEL
Uh-uh,

Sunday's our worst.

TEDDY
Come o n ,
ANGEL
Sometimes I r e a d t h e whole S u n d a y p a p e r S u n d a y mornin,
TEDDY
Don't s a y .
ANGEL
Things pick u p at lunchtime for t h e enchilada special.

177

MOVEMENT AND BUSINESS

(1) A b r i n g s t h e food to t h e DR b o o t h .
(2) A X to t h e DC t a b l e and b e g i n s
straightening.
(3) A t u r n s back to T and c.

TECHNICAL CUES

178
TEDDY
T h a t ' s n i c e , ain't i t ?

Not much fun for you and t h e R y d e r when t h e r e ' s

no b u s i n e s s .
ANGEL
Oh, we talk till S t e p h e n goes home.
TEDDY
Just t a l k ?

Huh?

Ya j u s t talk?

TeU t h e t r u t h .

ANGEL
Sometimes we d o n ' t even t a l k .
TEDDY
Uh-uh.
ANGEL
Soraetimes S t e p h e n j u s t goes home.
TEDDY
Does, does he ?
ANGEL
Uh-huh.
TEDDY
^^^My my, t h a t looks ^

^^^

Dig i n , h o n e y .

J u s t look at t h a t g r e a s e .

This w h e r e y a get y o u r b e a r g r e a s e for y o u r h a i r , Red?

ANGEL
Is it too g r e a s y ? (3)

179

MOVEMENT AND BUSINESS

(1) A X to T .
(2) T s q u e e z e s A's b r e a s t . A x
t h r o u g h c o u n t e r opening to b e hind c o u n t e r .
(3) L e n t e r s , x to DC t a b l e .
R e n t e r s b e h i n d him, x to t h e UC
stool, b e g i n s looking for his k e y s .
A X around end of t h e c o u n t e r to
help him.
(4) R e x i t s .
(5) L X SR to t h e end of t h e DC t a b l e .

TECHNICAL CUES

TEDDY
Com'ere d a r l i n .

^^
Now tell t h e honest to God t r u t h .

He ever give ya

a Httle feel when t h e two of ya h e r e all alone.

LYLE
(3)
^ Got y o u r g e n e r a t o r b u t now t h e s e folks h a s lost t h e i r k e y s .

I'U

swear I left t h o s e k e y s in t h e ignition.

TEDDY
What do t h e y look Hke?
RICHARD
J u s t a Httle flat piece with a r i n g and chatn.
TEDDY
Little piece o t e x t i l e ?
RICHARD
Gold.
TEDDY
My my.
LYLE
Ya know, I t h i n k I mighta left 'em on top of t h e premium p u m p .
RICHARD
I'U j u s t go check on t h a t .
LYLE
^^^Son. . .1 t h o u g h t I'd do ya a bit of a favor.

. .so I went ahead and

dismounted y o u r air cooHn s h r o u d so's I could take off your old g e n e r a t o r .

181

MOVEMENT AND BUSINESS

TECHNICAL CUES

182

TEDDY
Uh-huh.
LYLE

Now, s o n , I like to t h i n k I'm a man that u n d e r s t a n d s our y o u n g folks

and I'm a man t h a t minds his own b u s i n e s s . . .
TEDDY
T h a t ' s a fine a p p r o a c h to Hfe, s i r , a ftne a p p r o a c h .
LYLE
. . . b u t y o u could s u r e l y find yourself in a passle of trouble if one of
those Mexican b o r d e r g u a r d s was to get t h e idea to s e a r c h around and
find what y o u got t a p e d into t h a t s h r o u d .

And I'd s u r e l y hate to see

ya compound y o u r - p r o b l e m s b y takin t h a t man's k e y s .

any a c c u s a t i o n s , ya u n d e r s t a n d .

I ain't makin

I'm a man t h a t minds ray own business-

TEDDY
Seeras to me you said t h a t .

Didn't he s a y that a while back?

CHERYL
Yes.
TEDDY
Goddamn if I d i d n ' t t h i n k as m u c h .

Ole man, y o u ' r e repeatin' yo'self.

'Fraid for a second t h e r e I was goin c r a z y .

LYLE
Just gimme t h e k e y s if ya got 'em son.
the whole time a n d d i d n ' t know i t .

I'U say I had 'em in my pocket

Then I'U go out t h e r e and p u t t h a t

new g e n e r a t o r on and you can be on y o u r way.

183

MOVEMENT AND BUSINESS

(1) T X to L.
(2) T X to
L X to
R and
stool.
R X to

t h e DR booth and s i t s .
UL of t h e t a b l e .
C e n t e r , C x to t h e UC
t h e Cn stool.

TECHNICAL CUES
(L3)

S t a g e Hghts b e g i n slow
fade u p to full.

184
TEDDY
Damn, old c r i p p l e g u y , if you h a v e n ' t gone and corapHcated t h i n g s .
Didn't I tell you first t h i n g t h a t I'd p u t that generator in.
LYLE
I j u s t t h o u g h t I'd do ya a bit of a favor.
TEDDY
Goddamn if you d i d n ' t say t h a t before too.
LYLE
Ya got n o t h i n to w o r r y a b o u t .

Like I said

TEDDY
Say it a g a i n , ole man, and I'II cut y o u r t o n g u e r i g h t out of your
throat.

Now h e r e comes Gentleman Jira and O u r Lady of t h e Violin.

How you gonna feel if t h e y found those k e y s ?

LYLE
I'Il apologize.

I s u r e l y wiU.

TEDDY
AU r i g h t t h e n l e t ' s j u s t see what develops h e r e .
RICHARD
No we d i d n ' t .
(L3)

(2)

Found 'em, did ya?

185

MOVEMENT AND BUSINESS

(1) T X to S on stool. Ke picks up
S and s h a k e s him u p s i d e down.
(2) T d r o p s S on t h e floor and s t a n d s
over him.
(3) T X toward t h e DL stool.
t h e DR stool and s i t s .
(4) T sits on t h e DL stool.

S x to

TECHNICAL- CUES

186

LYLE
The b o y ' s got 'em.
TEDDY
^AU r i g h t , Red R y d e r , cough up them k e y s .

What's t h e lone R a n g e r

and Tonto gonna say when

STEPHEN
You got 'em, y o u goddamn s t u p i d son of a bitch?

(2)

TEDDY
T h a t ' s a vicious t h i n g to s a y , b o y .

You're gonna make it r o u g h for white

and Indian couples all o v e r t h e c o u n t r y with t h a t kinda beha'vior.

RICHARD
You have my k e y s ? (3)
TEDDY
Well. . .now this is j u s t s p e c u l a t i n , ya xinderstand, b u t let's speculate
here a second

(4)

RICHARD
Do you h a v e my k e y s ?
TEDDY
Just a m i n u t e ~ I ' m s p e c u l a t i n , goddamn i t . . .Let's say for t h e sake of
speculation t h a t I do have your k e y s .

Now I w o n d e r ~ i f I did have 'em

if you'd b e wUHng to c o u g h up a little ransom money to get 'em b a c k .

Just in t h e n a t u r e of speculation, of c o u r s e .

.L

187

MOVEMENT AND BUSINESS

(1) T t u r n s to face d o w n s t a g e on t h e
DL stool.

TECHNICAL CUES

188

LYLE
Give him t h e k e y s , s o n .
TEDDY
Whudduya s a y , Gentleman Jim?
RICHARD

If you do h a v e my k e y s , I can a s s u r e you I'm not about to pay one r e d

cent to get them b a c k .
TEDDY
Nowjust s p e c u l a t i n againwere I to b e t h e p o - s e s s o r of your k e y s ,
I just d o n ' t t h i n k I ' d give 'em b a c k .
woiUd.

Couldn't.

No s i r , I j u s t don't t h i n k I

Impractical.

RICHARD
Do you h a v e a poHceman in town?
LYLE
Sheriff.
RICHARD
Would you mind calling him.

We'U let him see if he can find my k e y s .

TEDDY
Nowjust s p e c u l a t i n a g a i n , if you'U beg my rapidly diminishin p a r d o n
h e r e ~ I wouldn't do t h a t .

No s t r , I just woxUdn't.

RICHARD
If you w o n ' t , k i n d l y teU me t h e number and I wiU.

189

MOVEMENT AND BUSINESS

(1) L X to t h e p h o n e b o o t h .
(2) T X t h r o u g h t h e c o u n t e r o p e n i n g
and leans on t h e c o u n t e r facing
t h e door.
(3) L X to T .
R and C c o u n t e r to SL.

TECHNIC-Ai CUES

190
LYLE
Son, my offer still s t a n d s .
TEDDY
And I a p p r e c i a t e y o u r dffer, ole man, but this h e r e speculatin I'm doin is
an offer of a different

stripe.

LYLE
I'm gonna h a v e to caU Sheriff Garcia.
TEDDY
I p r a y to. t h e v e r y f u n n y Lord t h a t you don't attempt t h a t , s i r .
LYLE
Then give t h e man his k e y s back!
TEDDY
Darn it all, I c a n ' t do t h a t .

Do not touch t h a t phone!

Now, when I

say don't do something t h e way I just said i t . . .don't do i t . All r i g h t ,

(2)
let's cut t h e c r a p , f r i e n d .
We're forty-five minutes from t h e Mexican
border and p e r m a n e n t l y out of y o u r l i v e s .
for our b r e a k f a s t , let alone a g e n e r a t o r .

But we've got no money to pay

We need money.

LYLE
Have t h e b r e a k f a s t on me, s o n . ^ ^
Have t h e g e n e r a t o r on me too.
sorry for.

Put t h e i r b r e a k f a s t on my t a b , Angel.

Let's j u s t don't do a n y t h i n g you'U b e

My offer stUl s t a n d s .

You go calmly outta h e r e and

191

j /
y

/ / /fw

r^-~^ /'^/

(o

/ /9^

\C

/ /

'T

MOVEMENT AND BUSINESS

(1) L sits on t h e Cn stool.
(2) T X to t h e back of t h e DL b o o t h ,
t u r n s and holds R's k e y s o u t .
(3) R r e a c h e s for t h e keys-, T pulls
them away before R can g r a b t h e m .
(4) R t r i e s to go u p s t a g e of T to t h e
door.
T blocks u p s t a g e then, d o w n s t a g e ,
as R moves from side to side t r y i n g to get b y .
T t r i p s R and R falls d o w n s t a g e
between t h e DC table and t h e DL
booth.
A r u n s from b e h i n d t h e c o u n t e r
and c c a t c h e s A b y t h e DL stool.

TECHNICAL CUES

192

MOVEMENT AND BUSINESS

(5) T t u r n s to A and R gets up off
t h e floor, slaps T in t h e face, r e t r i e v e s t h e k e y s T d r o p s , and
rejoins C,
(6) T pulls out a gun and points it at
R.
L s t a n d s and e v e r y o n e puUs b a c k
from T ' s d i r e c t i o n .

TECHNICAL CUES

193
TEDDY
We accept b r e a k f a s t and t h e generator with t h a n k s b u t we've stiU got
to have m o n e y .

In t h e h a n d . ^^^

Now I'm damn s u r e t h e r e ' s not enough

money i n t h i s r e g i s t e r or y o u r s , ole man, to make cleanin them out w o r t h

(2)
my while,
So if Gentleman Jim h e r e doesn't come up with, s a y , t h r e e
h u n d r e d doUarscashI'm going to be v e r y u p s e t .
Jim?

(3)

See t h a t move, Red R y d e r .

What do you s a y ,

Fastest fist m t h e west,

Can I

sign on as Little B e a v e r with moves Hke t h a t ? ^ ^ '

CHERYL
Please d o n ' t do an-ything,
ANGEL
T h e y ' r e nice people!
TEDDY
You shift y o u r t a n k in r e v e r s e and back over behind that counter
C h r i s t , Jim, what if I'd b e e n wearing contact lenses?
RICHARD
We're walking out of h e r e ,
we're g e t t i n g in o u r c a r .

We're going over to Mr, S t r i k e r ' s station and

You have as long as it takes us to locate t h e

sheriff and get him out h e r e to get yoxir car fixed and be gone.
TEDDY
Hold it! ^^^
CHERYL
Teddy!

194

MOVEMENT AND BUSINESS

(1) T shoots R, R falls b a c k w a r d ; L
and C r e a c h after him.
Shocked reaction from A, S , a n d
c. E v e r y o n e f r e e z e s .

TECHNICAL CUES
(L4)

Blackout,

(L5)

House Hghts dira up

slowly to fiUI.

195
RICHARD
Don't you d a r e point t h a t t h i n g at rae.
TEDDY
Empty y o u r p o c k e t s on t h a t t a b l e .
RICHARD
I wiU n o t .
TEDDY
F r i e n d , I d o n ' t need to shoot y o u , but if t h a t ' s what it's going to t a k e to
make clear who's controUing t h i s , t h e n t h a t ' s t h e way it's going to have
to b e .
RICHARD
T h a t ' s t h e way i t ' s going to have to b e t h e n .
(L4)
(L5)

196

MOVEMENT AND BUSINESS

(1) Actors find their places in the
dark. T is at the DR booth. S
is on the DR stool. c is on the
stool facing the DL booth holding
the gun. A stands SR of the
booth by C, who is seated next
to R. R has his head on the DL
booth's table, and L sits under
the window. The company freezes
for three counts when the Hghts
come up before resuraing the
action.
(2) A X upstage behind the counter.
She puts bandages away and gets
R a glass of water during the
foUowing Hnes.

TECHNICAL CUES
(L6) Kouse lights dira out.
(L7) Stage Hghts are brought
up at three-fourths.

197

ACT TWO

(1)
(L6)
(L7)
TEDDY
How ya feeHng, Gentleraan Jira?
be r e a d y to r i d e b y s u n u p .

No more'n a flesh wound, Red.

He'II

Darlin, Them's was mighty fine v i t t l e s .

LYLE
I think t h e bleeding's stopped.

(2)

TEDDY
Didn't I j u s t get t h r o u g h telHng Red R y d e r it weren't nothing more'n
a flesh wotind?
LYLE
How do y o u feel?
RICHARD
I'm aU r i g h t .
TEDDY
C h r i s t , I'm bein o s t r a c i z e d .
CLARISSE
Can I do something?

198

MOVEMENT AND BUSINESS

(1) L X to t h e UC stool and h a n d s
A the dirty bandages.
(2) A X to t h e SL c o r n e r of t h e DL
booth and s i t s .
(3) T X t h r o u g h t h e c o u n t e r opening
and leans toward L.
c t u r n s on h e r stool to T .
(4) L b a c k s toward C n .

TECHNICAL CUES

199
RICHARD
No, r e a U y , I'm fine.

Just shaken.

CLARISSE
Please let me do s o m e t h i n g .
RICHARD
T h e r e ' s n o t h i n g for y o u to d o ,
TEDDY
Red, y a know who I wished coiUda been here to see t h e looks on ever'
b o d y ' s face when I p u t t h e hot lead to Jim ? Cisco and Pancho.
T h e r e was a couple boys could really appreciate a good facial e x p r e s sion.

Goddamn, w h e r e did all those people get to so fast?

hell's goddamn Tim Holt, Jim?

Lash L a R u e .

J o h n n y Mack and t h e Durango Kid?

(2)
J e s u s C h r i s t , somebody puHed a fast one.

CHERYL
WiU you stop s t a r i n g at my b r e a s t s , please!
TEDDY
(3)

Who's s t a r i n at yoxir b r e a s t , darHn?

LYLE

Not me (4)
TEDDY
Not y o u , old man?
LYLE
Not me.

Where t h e

200

MOVEMENT AND BUSINESS

(1) T t u r n s to S.
(2) c grabs T's arra to get his attention. T t u r n s to her.

TECHNICAL CUES

201
TEDDY
Stuff like t h a t d o n ' t i n t e r e s t you no more, do it?
LYLE
Well now, I woiUdn't s a y t h a t .
TEDDY
No. I w o u l d n ' t e i t h e r . ^ '
STEPHEN
Who s a y s I'm lookin at 'em?
TEDDY
I say, boy,
don't s h e ?

But t h e n s h e ' s got 'em r i g h t out t h e r e for you to look a t ,

She d o n ' t want you to look at her bosom, s h e o u g h t a cover

the t h i n g u p ,

Ain't t h a t r i g h t ?

CHERYL
(2)
CoxUd we please get out of h e r e !

Teddy. . .

TEDDY
Yeah.

Why d o n ' t you and Mr, S t r i k e r go on over to t h e g a y - r a g e and

put o u r new g e n e r a t o r o n .

Mr. S t r i k e r , you go on now, but I s u r e l y

hope, s t r t h a t y o u won't attempt nothin b a y r o q u e .

I'd hate for my

Httle gal to h a v e to decide if s h e ' d use that t h i n g .

Put t h e gun in

your s h a w l ,

sweetheart.

LYLE
You have my w o r d .
off than we a r e now.

I j u s t want to see you out of h e r e and us no worse

202

MOVEMENT AND BUSINESS

(1) L e x i t s , c e x i t s .
(2) T t u r n s to S and sits on t h e
counter.

TECHNICAL CUES

203
TEDDY
T h a t ' s a good ole man.
You're a,

Goddamn b u t you're good, ain'cha?

, . g o o d . . .ole. . .man.

my Httle gal's b r e a s t s .

Ain'cha?

You u n d e r s t a n d me?

Yeah,

You keep your eyes off

Bring back a coupla roUs

of friction t a p e .
CHERYL
T e d d y , I'm s c a r e d .
TEDDY
Run a l o n g , d a r l i n .
CHERYL
Go a h e a d , Mr. S t r i k e r , I'U foUow y o u .
TEDDY
(2)
Shame on y o u , b o y .

What's goin on tn your mind, boy?way back

t h e r e in t h e c o r n e r s w h e r e you n e v e r been before?

y a , b o y , y a h e a r me?
ahead, b o y .

Were you in t h e w a r ?
TEDDY
Yeah,

You?
STEPHEN

Uh-uh.

Ya do and i t ' s j u s t liable to eat you whole.

Ask me somethtn.

STEPHEN

Don't let it touch

Go

204

MOVEMENT AND BUSINESS

205

TEDDY
Unfit.

. . o r puU a lucky n u m b e r ?
STEPHEN

Three-twenty-four.
TEDDY
T h a t ' s too b a d , ain't it?

Ya mighta got yourself shot to shit and mailed

home in a plastic g a r b a g e b a g and b u r i e d down t h e road h e r e .

body woulda corae to t h e f u n e r a l .

Ever-

You'da been somebody t h e n , Red.

STEPHEN
Boy I went to h i g h school with got kUIed in t h e w a r .
TEDDY
Uh-huh.
ANGEL
BiIIy Simon.
STEPHEN
BUIy Simon.
TEDDY
Yeahyou'da b e e n somebody, R e d .

I knew a lotta good ole boys who

became somebody b y gettin t h e i r good old asses shot off.

remember t h e i r names e i t h e r .

I wanted to go away once too.

one place was as bad as a n o t h e r .

remember?

. ,1 can't

Went to coUege.

Figured

Ya know what I

Kow to do t h e tired swimmer's carrywhich ain't much u s e ,

say, h e r e in t h e d e s e r t - a n d t h e succession of t h e T u d o r - S t u a r t kings

206

MOVEMENT AND BUSINESS

(1) T s t a n d s and motions to A to
fiU his coffee c u p .
A X to t h e UR cabinet a n d g e t s
t h e coffee p o t , t h e n x b a c k to Cn.
(2) A p o u r s T coffee.

TECHNICAL CUES

207

MOVEMENT AND BUSINESS

(3) A s t a r t s to x back to t h e UR
cabinet to r e p l a c e t h e coffee.
T paces A on t h e o t h e r side of
the counter.
(4) A t r i e s to x around t h e end of
the counter.
T blocks A off and walks a r o u n d
h e r to SL.
(5) A X d o w n s t a g e .
(6) T foUows A,

TECHNICAL CUES

208
and q u e e n s w h i c h ain't no use even if ya happen to be close to w a t e r .
Yeah. . . y o u might as well stay h e r e , boy.

Maybe someday they'U

make y a h e a d of t h e p a r k t n lot,
ANGEL
^^^How old is s h e ?
TEDDY
Cheryl?

E i g h t e e n , n i n e t e e n , twentydon't rightly know, darHn.

Why?

She too old for rae, ya t h i n k ?

ANGEL
Where'd y a met each o t h e r ?
TEDDY
(3)
Sock h o p .
night.

Yes'm, we bopped our Httle b e - h i n d s off that first glorious

T h e Kalin T w t n s .

Chuck B e r r y . , ,How corae they caH ya

Angel, D-umpIin?
ANGEL
My momma and d a d d y j u s t named me i t .
TEDDY
Angel, h u h ?

Ya m u s t a meant a lot to 'em,^

did t h e bulk s t a r t to come up on ya?

ANGEL
Ya mean when did I s t a r t to get fat?
TEDDY
That's r i g h t ,

darlin.^^^

(5)

T h e n anyway,

When

209

1
1

i
1
1

^r^ ndj . \ \

i
1
1

/ M

v^

A ^r /o/^ Xcv

"r

MOVEMENT AND BUSINESS

(1 ) -]? plays with A's hair c a u s i n g
Iaer to stop C n .
(2 ) i^ t r i e s to i n c h away from T ,
che pulls h e r hair away from
T,
(3 ) : r X from b e h i n d A to SR of h e r .

TECHNICAL CUES

ANGEL

^^

When I was l i t t l e ,
TEDDY
G l a n d s , was it?
ANGEL
Uh-huh.
TEDDY
How come ya w e a r t h a t weddin r i n g on your r i g h t hand?
to M r s . C h r i s t ' s b o y ?
ANGEL
My d a d d y gave it to me.
TEDDY
How is y o u r d a d d y t h e s e days ?
ANGEL
I don't k n o w .

He went away a long tirae ago.

TEDDY
Cause of y o u ?

'

ANGEL
Cause of my momma and my gra'ma, I t h i n k .

(2)

TEDDY
You t h i n k a n y b o d y ' s e v e r gonna m a r r y you, Angel?

(3)

You married

-4

211

MOVEMENT AND BUSINESS

(1) .A X to t h e UR cabinet a n d r e places t h e coffee p o t , t h e n A x
to t h e s t o v e and leans a g a i n s t i t .
(2) T X to t h e u p s t a g e c o m e r of
t h e DL b o o t h .

TECHNICAL CUES

212

ANGEL
I don't k n o w .
TEDDY
No.

Nobody e v e r i s .
RICHARD

What t h e hell's t h e m a t t e r with y o u , man?

TEDDY
Generally, J i m , or in partictUar?

(2)

RICHARD
What's t h e m a t t e r with aU of you?
TEDDY
Ah!

All of u s .

You mean us h e r e disaffected youth of t h e United

States of America?
RICHARD
Yes!
TEDDY
We d i s a f f e c t e d ,

Jim.

RICHARD
What h a p p e n e d to all of t h a t Love and Peace garbage?
TEDDY
Ah!

T h a t was a n o t h e r g r o u p , s i r .

T h a t was these other fellas.

u s , w e ' r e not in favor of Love and Peace.

fUled with Love a'nd P e a c e , are ya?

How bout y o u , Jim?

NoYou

213

'i^

/ M

y ^ / AL

MOVEMENT AND BUSINESS

(1) T X to t h e c o u n t e r .

TECHNICAL CUES

214

RICHARD
Not r i g h t now.
TEDDY
How bout y o u , dumpHn?

You filled with Love and Peace?

ANGEL
I think so,

I mean, , ,1 t h i n k s o ,

TEDDY
Like t h e way y a said t h a t twice t h a t a w a y , darltn,

Whudduyou love,

lamb chop ?
ANGEL
My momma, , .
TEDDY
Uh-huh.
ANGEL
. . . a n d my g r a ' m a .
TEDDY
How b o u t old Red R y d e r h e r e .

You love R e d , Don't y a , sweet gut?

ANGEL
I like S t e p h e n a l o t .
TEDDY
Oh, I t h i n k ya love old R e d , t h a t ' s what I t h i n k .
ya b a c k , do he?

But he don't love

He don't ever s t a r e at your bosom, do he?

Lemme

215

MOVEMENT AND BUSINESS

TECHNICAL CUES

(1) T X u p s t a g e a r o u n d t h e c o u n t e r ,
p u t s his arra a r o u n d A and leads
h e r to s t a n d in front of S .
(2) T r e l e a s e s his hold on A, slaps
S off of his stool, then T x
t h r o u g h t h e c o u n t e r o p e n i n g and
grabs S.
(3) T j e r k s S to his feet and t o s s e s
S to C n .

_.J

216

MOVEMENT AND 3USINESS

(4) T t h r o w s SR chatr of t h e DC
t a b l e u n d e r n e a t h t h e c o u n t e r , and
c a r r i e s t h e t a b l e to t h e DR
b o o t h , s e t t i n g it u p s i d e down
on t h e table t h e r e .
(5) T X SL and picks up t h e r e maining chair and p u s h e s it in
at t h e DL b o o t h .
(6) T X b e h i n d S and s p e a k s in his
ear.

TECHNICAL CUES

217

MOVEMENT AND BUSINESS

(7) T p u s h e s S .
S b e g i n s to gallop slowly a r o u n d
t h e room.

TECHNICAL CUES

218
i n t e r c e d e in y o u r behalf, d a r l i n , ^(1) and ask the boy a coupla q u e s t i o n s .
Now, R e d , how come ya don't love sweet gut h e r e ?
for ya?

S h a r p d r e s s e r like y o u .

Not good enough

Man with aU the a n s w e r s .

How come?

STEPHEN
None of y o u r goddamn b u s i n e s s .
TEDDY
(2)
^ Don't e v e r look at my woman's b r e a s t s again, b o y , or I'II h u r t you
real b a d .
TEDDY
Now you get in t h e middle of that room.

(3)

My God, t h e unspeakable

audacity of a p u n k like you wearin a tattoo Hke t h a t .

(4) The real Red

Ryder woiUd've h u n g 'em up if anyone were to tell him he was a s s o ciated with p i g s h i t Hke t h a t . ^ '

And I'U teU you somethin else:

You

never woiUd've found t h e real Red Ryder sitttn around a durap Hke this
starin at some t o u r i s t l a d y ' s t i t s .

^I swear to goddamn Christ I'm

tempted to t a k e t h o s e eyes out of your head and cut that tattoo off
your a r m .

Now I wanna see you ride the r a n g e .

You j u s t s t a r t r i d m

the r a n g e a r o u n d t h i s room tiU I teU you to s t o p .

STEPHEN
Whudduya mean, r i d e t h e r a n g e ?
TEDDY
I mean Hke when y o u were a k i d . you little p i s s a n t .

Ride t h e goddamn

range like y o u did when you were a kid playin Cowboys and N i g g e r s ,
or Wetbacks, or w h a t e b e r you shitheads played out h e r e .

Now Ride!

219

MOVEMENT AND BUSINESS

(1) S gallops a r o u n d t h e d i n e r ,
slapping his t h i g h .
(2) S s t o p s d o w n s t a g e of t h e DL
booth.
(3) S h a l f - h e a r t e d l y pantomiraes d i s mounting and t y i n g up his h o r s e .
(4) S X to T .
(5) A X to Cn of t h e covinter.

:ECHNICAL

CUES

220

MOVEMENT AND BUSINESS

(6) S gallops a r o u n d t h e rcom, stops
d o w n s t a g e of t h e DL b o o t h , p a n tomiraes dismounting and t-ying u p
his h o r s e . S x u p s t a g e to T ,
t h e n t u r n s and b e g i n s to x to A.
(7) S s w a g g e r s to t h e c o u n t e r ,
(8) T motions for A to be q u i e t ,
(9) T b a c k s to t h e p h o n e b o o t h ,
[10) S hits his t h i g h s .

TZCHNICAL CUES

221
^^Slap l e a t h e r !

Y o u ' r e Red R y d e r and you're chasin a black hat

across t h e d e s e r t out t h e r e .

Go get him!

Sound effects!

What was

goddamn Red R y d e r ' s h o r s e ' s narae, Jim?

RICHARD
I don't r e m e m b e r .
TEDDY
T h u n d e r or M i d n i g h t , I t h i n k .
pick o n e .

Your horse is T h u n d e r or Midnight

T h a t g i d d y a p s h i t ' s no good no more.

Stop.

. . .Okay

now r i d e up to t h e c o u n t e r and disraount and tie your horse u p .

(4)
Bad. V e r y B a d ,
O k a y , now, ya go into this h e r e cafe h e r e , s e e ,
and sweet c h e e k s is y o u r only belovedcause y o u ' r e Red R y d e r and
you only got one triUy beloved,
don't mess a r o u n d on t h e s i d e ,

I mean, as far as I can s e e , you j u s t

B u t , unlUce t h e homosexual fruit Lone

R a n g e r , you do got yoiirself this one fine gal h e r e ,

A great tirae it

was, Jim, when we d i d n ' t know enough to wonder at all those -vdr-ile
lads r u n n i n a r o u n d in weird couples,
despises women,

I t ' s no wonder our generation

All r i g h t now, sweet n u b s , you corae on down h e r e

and when Red comes in off t h e r a n g e , you s a y , Red honey, welcome home!
Got t h a t ? ^ '

O k a y , R e d , get back t h e r e and corae gaUopin up this tirae,

tie up ole Thvinder or Midnight, and swagger into the cafe.

Swagger!

ANGEL
Red h o n e y , wel
TEDDY
Not y e t , for c h r i s s a k e , ^^^
dust from his b r i t c h e s .

Let hira get in t h e door, . ,sraack sorae

222

MOVEMENT AND 3USINESS

(1) S s t e p s onto t h e r i s e ,
A to s a y h e r Hne,

T signals

(2) S leans forward to kiss A, A

leans forward to meet S, At
t h e last moraent, S k i s s e s A on
the cheek,
(3) S X to t h e DR stool and s i t s ,
(4) A b a c k s u p to t h e swinging
doors,
(5) T X to C .

TECHNICAL CUES

223

MOVEMENT AND BUSINESS

(6) T grabs the violin case, then
X to Cn and opens it up ,
taking the violin out and letting the case drop,
(7) C jumps up
case off the
back to the
the case on

and picks up the

floor, Then C x
DL booth and puts
the table.

(8) R stands
(9) T takes C by the back of the
neck and leads her to the counter opening, Then T pushes
C through the opening and x
back to Cn,

TECHNICAL CUES

224

MOVEMENT AND 3USINESS

(10) T pantomimes mounting a horse
and rides around the diner
twice, After dismounting and
tying up his horse, R swaggers
up to the counter and leans over
the counter to kiss C.
C puUs her head away.
T grabs C's brassiere and yanks
her toward him.
R runs toward T.
T Hfts the vioHn to smash it.
R backs off to the DL booth
and sits.
T places the violin to C's cheek,
t u r a s her head with it and kisses her.
Then T releases C and steps
back.

225
ANGEL
Red h o n e y , welcome home.
TEDDY
Kiss h e r , R e d , for c h r i s s a k e .
P u c k e r up , dumpHn.

Where're your m a n n e r s , ya schmuck?

Shitcut! . . .Okay, Red, get over t h e r e .

Sweet c h e e k s , b a c k off. (4) O u r Lady of the VioHn, com'ere, I got

(5)
something for y o u to d o .
Don't look at him like he's gonna give ya
permission.

T h i s ain't t h e school d a n c e , honey.

we got c u t s e e s .

If I call cutsees t h e n

Now get behind the counter and when I ride u p , you

s a y , Red h o n e y , welcome home! . . .Move!

CLARISSE
^^Don't.

Be carefiU.

Please.

AIl r i g h t .

RICHARD
^^^Don't k i s s h e r !
TEDDY
^^^At two minutes to c u r t a i n t h e female s t a r is taken suddenly b y a
mysterious Ulness and y o u , t h e prop girl, are t h r u s t into the p a r t .
Don't blow i t .
TEDDY
. (10)
Now, R e d , n u b s , watch t h i s , cause this is t h e way I want i t .

CLARISSE
Red, h o n e y , welcome home,
TEDDY
T h a n k s , Jim, t a k e h e r away.

226

MOVEMENT AND BUSINESS

TECHNICAL CUES

CLARISSE

^^"^

Give me my vioHn,
TEDDY
Only if you promise to play us some background music.
CLARISSE
All r i g h t .

Give it to me,

TEDDY
On t h o s e ,
mantic.

F i r s t a little r a n g e - r i d i n music, then somethin soft and roPlay nice and when t o d a y ' s shootin schedule's finishedno

pun i n t e n d e d , Jimyou'll get y o u r instrument back.

' show me s o m e t h i n g , b o y .
STEPHEN
I don't wanna k i s s h e r .
TEDDY
What's t h e m a t t e r , boyyou q u e e r ?
STEPHEN
I just d o n ' e w a n n a k i s s h e r ,
TEDDY
Cause s h e ' s fat?
STEPHEN
I just d o n ' t w a n n a ,
TEDDY
Don't y o u know what it'd mean to h e r if you

AU r i g h t , R e d ,

228

MOVEMENT AND BUSINESS

(1) T X t h r o u g h t h e c o u n t e r o p e n ing,
C moves u p s t a g e to get out of
T's reach,
(2) T g r a b s A and d r a g s h e r to
face S .
(3) T lets go of A and g r a b s S
o v e r t h e c o u n t e r and d r a g s him
u p off t h e stool.

TECHNICAL CUES

229

MOVEMENT A^TD BUSINES.S

(4) T X t h r o u g h t h e c o u n t e r o p e n i n g still holding &. T walks
S b a c k w a r d s to Cn and r e l e a s e s
him.
(5) T motions to C.
C X to t h e DL stool and sits
and picks up t h e s p o o n s .
A X to t h e Cn of t h e c o u n t e r .

TECHNICAL CUES

230

MOVEMENT AND BUSINESS

(6) C begins playing the spoons.
S rides around the diner, stops
at the DL corner of the DL
booth. S pantomiraes dismounting and tying up his horse,
then swaggers up to the
counter.

TECHNICAL CUES

231

STEPHEN
I don't wanna.
TEDDY
Shut up!

Don't you u n d e r s t a n d , b o y , t h a t y o u ' v e got to learn

to s e e yourself in relation to o t h e r people's n e e d s .

You think I enjoy

this w o r k ?
STEPHEN
I just don't wanna kiss her.
TEDDY
J e s u s C h r i s t , I s a y somethtng of consequence to you, and you give me
back "I d o n ' t wanna" for t h e fourth time.

I think you're q u e e r , b o y ,

t h a t ' s what I t h i n k .
STEPHEN
I d o n ' t c a r e what you t h i n k .
TEDDY
(3^
Please c a r e what I t h i n k , . .okay?

Now you either do this scene

the way I wrote it or I'm gonna make ya kiss me,

Ya wanna kiss me,

STEPHEN
Uh-uh.
TEDDY
^^^Then play t h e s c e n e t h e way I wrote it.

T h e r e can only be one

writer on t h e s e fUms, otherwise t h e thematic core of t h e t h i n g gets

screwed u p .
that.

S u r e l y a man's made as many motion p i c t u r e s as you knows

The orchestra's tunin up.^

Okay. , .hit i t .

232

MOVEMENT AND BUSINESS

(1) C slows down h e r rhythra on t h e
spoons.
S leans a c r o s s t h e coiinter to
kiss A.
A t u r n s away.
C s t o p s p l a y i n g when A t u r n s
away from S .
(2) S b a c k s up to t h e UC stool.
(3) A b a c k s up to t h e d o w n s t a g e
side of t h e s t o v e .
(4) C t u r n s to face front on t h e
stool.
(5) T X to S .
(6) T slaps t h e c o u n t e r .
(7) A b a c k s up to t h e swinging
doors.

TECKNICAL CUES

ANGEL

233"

Red h o n e y , welcome horae!

TEDDY
Good.

Now music!

Boy, I don't care how big you are over at

Metro, t h i s is t h e last p i c t u r e I'ra gonna use you i n . ^^'

Sweet c h e e k s ,

what can I s a y ?
ANGEL
Nothin.^^^
TEDDY
You want t h i s boy to make love to you?
ANGEL
No.
TEDDY
Sure you do.

(4) You e v e r been to bed with a woman, Red?

I'm talkin

to y o u , b o y .
STEPHEN
Yeah.
TEDDY
Bullshit.

WeU, t h i s girl wants you to make love to h e r and b y jingo,

she's gonna h a v e h e r way.

ANGEL
No!^^)

^Right h e r e ,

234

MOVEMENT AND 3USINESS

(1) T p u s h e s S onto t h e UC stool,
(2) T X to R ,
(3) T X to S,
(4) C and R signal each o t h e r to
make a r u n for t h e d o o r .

TECKNICAL CUES

235

TEDDY
Our L a d y , you'U accompany the action of course,
way w e ' r e gonna play i t ,

^^Now h e r e ' s t h e

R e d , you'll say to n u b s here that y o u ' r e

goin away and s h e ' l l ask y a , Why ya goin away, Red Ryder?

and

you'U s a y , I d o n ' t k n o w , cause y o u ' r e Red Ryder and you don't know
a goddamn t h i n g u n l e s s someone tells yaand t h a t ' s a great way to b e ,
(2)
' w o u l d n ' t y o u s a y , Jim?

Memraer how it used to be?

Oh y e a h , none

a this h o r s e s h i t y o u ' r e i n t o , b o y , about re-sponsibility and e x - i - t e n t i a l

choice.

(3) AU's t h e old R y d e r knew is he got sealed o r d e r s to go away,

so he was goin; and so you'll s a y , I don't know why I'ra goin away;
and she'll s a y , I s it b e c a u s e of me?; and you'll s a y , I don't know if
it's b e c a u s e of y o u b e c a u s e no one told ya whether t h a t ' s it or not;
and s h e ' l l s a y , I h a v e to know w h y ; and all's you'U be able to say i s ,
I don't k n o w .

Say it!

STEPHEN
I don't k n o w .
TEDDY
I don't k n o w .
STEPHEN
I don't k n o w .
TEDDY
Uh-uh, n o , that's wrong.

Because at this j u n c t u r e , some unknown b u t

officious i n d i v i d u a l s t e p s to y o u r ear and w h i s p e r s :

ain't n e v e r comin b a c k , Red R y d e r .
here:

I a i n ' t n e v e r corain b a c k .

Never.

(4)

You

And you say to your little dumpHn

And n u b s h e r e ' s eyes fiU up and s h e

236

MOVEMENT AND BUSINESS

(1) T X to R.
(2) T swings t h e violin like a baseball bat b y R, b a r e l y missing
his h e a d .

:ECHNICAL CUES

237
s a y s , Make love to me, R y d e r , before ya go; and y o u , bless y a , R e d ,
you s a y , We ain't

raarried,

Missy N u b s , it wouldn't be r i g h t .

I couldn't!

I mustn't!
TEDDY
Goddamn it!

You a Dodger fan, Jim?

RICHARD
No.
TEDDY
Baseball!

Game grown men used to play when Jim and rae was boys and

you w e r e n ' t t h e only Red R y d e r a r o u n d ,

Who'd ya ropt for, Jaraie?

RICHARD
Yankees.
TEDDY
You s h i t b r i c k ,

Yeahwe ain't gonna forget Roger Maris' flattop o v e r -

n i g h t , a r e we?

Ya stick with 'em when you moved west, Jiraray?

tell ya what h a p p e n e d to me:

I'II

When t h e y moved t h e Duker outta Brooklyn

and into t h a t friggin L . A . CoHseum, t h e y r m n e d t h e career of the only

man I e v e r l o v e d .

I'm taUcin to you y o u , Jimble.

You speak to that!

RICHARD
I. , ,lost i n t e r e s t when t h e y t r a d e d Maris, and Mantle r e t i r e d .
TEDDY
The m i c k e r , J e s u s .

^^^Yeah-yeah, maybe that was t h e end of i t .

that goddamn Yogi B e r r a ,

they u s e d to call him ?

. .

J e s u s , I hated t h a t little b a s t a r d ,

And

What's

238

MOVEMENT AND BUSINESS

(1) T X b e h i n d R,
(2) T X to C n ,
(3) T X to S.
(4) R X toward T .
(5) T t a k e s a few s t e p s toward C
(6) T X to R .
(7) T X to C .

TECHNICAL CUES

RICHARD

239

Mr. C l u t c h .
TEDDY
Mr. C l u t c h , my a s s .
1

RICHARD
T h e D o d g e r s were l o s e r s .

You belong t o g e t h e r ,

TEDDY
Don't you e v e r imply in ray p r e s e n c e that the Duke was a loser. ^^^
Ah, the Duker.^^)

Edward Donald S n i d e r , friends, the Duke of Flat-

b u s h , p o k e n 'em into Bedford A v e n u e .

boy, I know i t ,

, ,Yeah.

Oh t h e r e was another time,

But t h a t was y e s t e r y e a r and this is t o d a y ,

and t h e r e ain't n o t h i n today to s a y that a coupla nice kids can't throw

each o t h e r a nice fuck on a countertop in a diner in New Mexico if
they want t o . ^

So, . .Mr. Red R y d e r and Miss Angel Sweet N u b s ,

front a n d c e n t e r , please and d i s r o b e .

RICHARD
(4)
Edwin!

I t ' s Edwin, not Edward!

d e g r a d i n g them!

Edwin Donald Snider!

Now stop

We a r e Hving in the p r e s e n t and if you

TEDDY
(5)
Do you t h i n k t h i s woman is impressed by all this gratuitous b r a v a d o ?
Are y o u ? . . . A r e y o u i m p r e s s e d ?

Don't you u n d e r s t a n d t h e r e have

been l a n d m a r k discoveries in t h e fields of apology and psychology s u g gesting t h a t t h e r e is more to manHness and h u s b a n d r y than p r e t e n d i n g
(7)
wiUingness to do b a t t l e -with men you cannot complete with.
Hey, Red,

240

MOVEMENT AND BUSINESS

(1) C backs up to the corner by

the DR stool.
(2) T X to S .

(3) S rushes for the door.

T catches S's arm and holds it
behind his back.
S struggles.

TECHNICAL CUES

241
how bout Our Lady of t h e VioHn?

Like to make love to h e r ?

CLARISSE
^ ^ D o n ' t t o u c h me!
TEDDY
Whudduya s a y to t h a t , Red?

Your first sexual experience of a coraplete

n a t u r e with a c o n c e r t vioHnist who's not at all u n a t t r a c t i v e for a woman

c r e e p i n g d e a t h q u i c k into middle a g e ,
down whUe y'aU consummate.

Maybe she'U even put t h e fiddle

Red b o y , goddamn i t , I'm talkin to you,

STEPHEN
I don't want t o .
TEDDY
I swear to God, b o y , I t h i n k y o u ' r e queer as a t h r e e dollar biU,
STEPHEN
You're a q u e e r !
TEDDY
Rise to t h e occasion, boy!
this w a y , R e d .

Rise!

Rise to it!

Now look at it

On t h e one h a n d , you got sweet cheeks h e r e , u n t o u c h e d

by human h a n d s c o r r e c t rae if I'm w r o n g , cheeks, , ,cheeks?Yeah

untouched,

And t h e n on t h e other h a n d , you've got Our Lady of t h e

Violin. , . w h o ' s b e e n a r o u n d .
CLARISSE
You a r e an o b s c e n i t y .

242

MOVEMENT AND BUSINESS

(1) T r e l e a s e s S .
S X upstage behind the counter.
(2) C X to R.
(3) C X u p s t a g e to T .
T counters SL.
(4) R X SR of C and g r a b s h e r arm.
(5) R pulls C to t h e point of t h e
counter.
(6) C t u r n s to R.

TECHNICAL CUES

243

TEDDY

And y o u , madame, hiding b e h t n d your instrument and y o u r paucity

of word and d e e d , a r e a deceitful woman.

Hey, Jira, t h e little woman

t r e a t y o u as good as s h e does this violin you're payin for?

CLARISSE
(2)
You s t i n k i n g filth.

You r o t t e n , stinking fUth.

RICHARD
C l a r i s s e , s t a y out of this
CLARISSE
(3)
You come tn h e r e and you t r e a t us as t h o u g h we were somehow t r u l y
without w o r t h , as if we were t r u l y no more than d i r t ,
not u s ,

But n o , it's

I t ' s vou

RICHARD
(4)
All r i g h t , Clarisse
CLARISSE
I know y o u a n d I'm not i m p r e s s e d ,

I know you and I want you out

of h e r e
RICHARD
^^^Sshhh, i t ' s aU r i g h t .
CLARISSE
I t ' s not aU r i g h t .

Don't teU me it's aU right

RICHARD
Don't demean yourself by

244

MOVEMENT AND 3USINESS

(1) C X d o w n s t a g e of R.
(2) R t u m s to C.
(3) C t u m s to R.

'ECHNICAL CUES

245

CLARISSE
Don't t a l k to me about demeaning myself.

This mass of filth walks

into o u r lives and y o u let him humiliate you beyond aU p r e t e n s e

RICHARD
He h a s n ' t humUiated me, Clarisse- (2)
CLARISSE
Who gives a good goddamn a b o u t . . .Edward Schneider when t h e little
dignity t h a t remains to you is being reduced
RICHARD
Ke h a s n ' t done a n y t h i n g to me b u t put a hole in ray arra!
CLARISSE
You'd let him h a v e i n t e r c o u r s e with rae on the counter if he really
wanted t o , do you know t h a t ?
RICHARD
Don't b e ridiciUous!
CLARISSE
What would y o u do?
RICHARD
I'd do something!
CLARISSE
You w o u l d n ' t stop him because you can't!
RICHARD
I'd stop him!

246

MOVEMENT AND 3USINESS

(1) C , b r u s h i n g p a s t R, x toward
T.
(2) R t u r n s toward C , and slams
his h a n d on t h e c o u n t e r t o p .
(3) C t u r n s to R.
(4) R X to t h e DR booth and s i t s .
C follows slowly after R,

TECHNICAL CUES

247

MOVEMENT AND BUSINESS

(5) T X to t h e j u k e - b o x and plays
a record.
(6) T X b a c k to t h e e d g e of t h e
DL b o o t h .
(7) c and L e n t e r ,
L X to t h e Cn stool and s i t s .
c X to T and h a n d s him t h e
t a p e and t h e g u n , t h e n s h e x
to t h e j u k e - b o x and leans on i t .
(8) A X a r o u n d t h e end of t h e
c o u n t e r to C n ,
(9) S X to A
T X to C

TECHNICAL CUES
(S3) J u k e - b o x b e g i n s to p l a y .

248
CLARISSE
AU r i g h t , fUth, come o n , let's see if he can
RICHARD
(2)
Stop it!

D You u n d e r s t a n d me!

You're making fools of us!

You're

e m b a r r a s s i n g me!
CLARISSE
(3)
I_ am^ not y o u r a d d e d a p p e n d a g e !
RICHARD
I told y o u to s t a y out of t h i s .

Now you sit down and you pull y o u r -

self t o g e t h e r
CLARISSE
K a v e n ' t I_ b e e n h e r e ?
an-ymore.

I'ra in trouble too, Richard, and I don't t r u s t you

(4)

TEDDY
T h i s o n e ' s d e d i c a t e d to t h e E t h r e d g e s , y'all.
I t h o u g h t we came h e r e to d a n c e .

(7)

(S3)

Hey!what is this?

Get t h e van fixed?

LYLE
All s e t .
TEDDY
This is t h e last d a n c e t h e n , g a n g .
into t h e s u n r i s e .
it off.

Time's gone and I'm gonna ride off

Corae o n , R e d , one last

Get out h e r e , d u r a p H n . ^ ^

My God, darHn b e jubUant.

Red!

raemory.

You and Nubs lead

What're you bawHng about, cheeks?

Get your ass over to h e r .

E t h r e d g e , I believe this is my d a n c e .

(9)

Mrs.

249

MOVEMENT AND 3USINESS

(1) T h a n d s R t h e vioHn.
(2) R lets t h e violin d r o p to t h e
booth s e a t .
(3) T picks up C and b e g i n s d a n c ing h e r a r o u n d t h e floor.
(4) T digs his fingers into C's
b u t t o c k s and p r e s s e s h e r to him.
C s t r u g g l e s to get away.
T finally lets C g o .
C cr-umples down onto t h e DR
stool.
(5) T tTirns to A and S,

TECHNICAL CUES

250

MOVEMENT AND BUSINESS

(6) A X to L.
(7) T X to L and t a k e s his c r u t c h
away from him and t h r o w s it on
t h e floor,
L b e g i n s to d a n c e with A,
(8) S X to t h e back to t h e DL b o o t h .

:ECKNICAL

CUES

251
RICHARD
T h e man's waiting to dance with you,
TEDDY
You get t h e -vioHn, Jim,

I love your s t y l e ,

J e s u s , Red, if

you and sweet c h e e k s don't make a p i c t u r e to warra t h e h e a r t , I don't

know what d o e s ,
(4)

Memmer, my d a r H n g , when we used to do it t h i s - a w a y ?

(5)
AU r i g h t , R e d , b r e a k !

Pick a new p a r t n e r , n u b s .

You and cheeks pick new p a r t n e r s .

Move i t , d a r l i n .

ANGEL
Wanna d a n c e , Lyle?
LYLE
'Fraid I'm not much for dancin with this t h i n g .
TEDDY
S u r e ya a r e , Why t h e r e ' s crippled folks in bowlin l e a g u e s .
LYLE
I wish you woiUdn't a s k me to do t h i s .
TEDDY
I faU to s e e , s i r , t h a t you h a v e t h e r i g h t to any dispensations t h e
others don't.

Do it.^^^

your thumb up your ass.

wall-flower.
STEPHEN
You wanna d a n c e ?

,,

R e d , w h a t ' r e you doin s t a n d i n around with

You see Cheryl standin t h e r e lUce a goddamn

252

MOVEMENT AND BUSINESS

(1) c X to T .
(2) T p u s h e s c a r o u n d .
(3) T p u s h e s c to S .
S and c b e g i n to d a n c e .
(4) T X to R.

TECHNICAL CUES

253

CHERYL
No.
STEPHEN
She d o n ' t want t o .
CHERYL
Teddy, the car's ready.

I t ' s enough.

TEDDY
I'U s a y when i t ' s e n o u g h .

Dance with goddamn Red R y d e r .

CHERYL
I d o n ' t want to d a n c e , T e d d y .

I wanna get out of h e r e .

TEDDY
And I want you to dance with this b o y .
CHERYL
I'm not o n e of t h a n , damn i t , I'm with y o u .
TEDDY
So w h a t , d a r l i n ?
privileged?,

Were you u n d e r the misapprehension t h a t makes you

, ,WeU, it d o n ' t .

Nothin else r e a l l y .

Uh-uh.

Now you d a n c e .

NOyou functonal too, d a r l i n .

You gotta d a n c e , s w e e t h e a r t ,

You k e e p yoxir eyes off h e r b r e a s t s , b o y .

RICHARD
Stay away from me!

Okay?

(4)

254

MOVEMENT AND BUSINESS

(1) T pulls R out of t h e b o o t h ,
(2) R and C b e g i n to d a n c e SR.
A and L d a n c e u p s t a g e C n .
S and c d a n c e SL.
(3) T g r a b s C and R and twirls
them a r o u n d in c i r c l e s . He
k n o c k s R to t h e floor SL.
T holds C's arms above h e r
h e a d and r a i s e s h e r blouse and
b r a s s i e r e . He d r a g s h e r Cn
facing u p s t a g e .

TZCHNICAL CUES

255

MOVEMENT AND BUSINESS

(4) T d r o p s C and x to t h e j u k e b o x and pulls t h e p l u g .
(5) C X to R on t h e floor.
(6) T t h r o w s S a roU of t a p e .
(7) S guides A to t h e u p s t a g e
booth and b e g i n s to t a p e h e r
up.

TECHNICAL CUES

256

MOVEMENT AND 3USINESS

(8) c r e f u s e s to move.

T x to C

(9) S s t a n d s to indicate he n e e d s a
knife to cut t h e t a p e .
T t h r o w s a knife tnto t h e floor
b e t w e e n S's l e g s .
S p i c k s up t h e knife slowly
t h i n k t n g of t h e implications.
(10) T X to R and b e g i n s to t a p e
him u p .
(11) S X to t a p e L; T X to c o u n t e r .
(12) T r e a c h e s u n d e r t h e c o u n t e r
b e h i n d L for a n o t h e r k n i f e ,
finishes t a p i n g R.
(13) T t h r o w s S a n o t h e r roH of
tape.
(14) T p u t s C on t h e DR stool and
t a p e s h e r to i t .

TECHNICAL CUES

TEDDY

257

You d a n c e with h e r , you s o r r y son of a b i t c h .

a l o t t a p l a n n i n into t h i s social.
DANCE!

AIl r i g h t , everybody dance! ^^^

GODDAMN I T , DANCE! ^^^

THERE OLE MAN, T I T S ! ^^^

The committee p u t

THERE, BOY, TITS!

DANCE!

TITS!

^^^^

RICHARD
(5)
Don't t o u c h me!

P l e a s e . . . d o n ' t touch me.

TEDDY
O k a y , R e d R y d e r , s t a r t taping hands behind backs and feet and make
them t i g h t or I'U cut y o u r pecker off, if you've got o n e .

S t a r t with

sweet c h e e k s , if h e r h a n d s are t a p e d , she can't touch you with them.

Get some food t o g e t h e r , C h e r y l .
next.

(8)

Punishin me, darlin?

Get t h e big offenders f i r s t , huh? (9)

old west?

Gentleraan Jim

One last g e s t u r e for t h e

Get on with i t , b o y .

LYLE
You d o n ' t h a v e to t a p e me, s o n .
TEDDY
What in t h e heU's t h e matter with you, old man?
Here's t h e final ignominy, Jim:
and left on d i s p l a y .

Tape him u p !

to be t r u s s e d up like a b u t c h e r e d hog

^"'"^^Somehow, you old b u z z a r d , with y o u r tit s u c k -

ing eyes and y o u r ass kissing demeanor, you make me j u s t as sick as

the r e s t of u s d o .

^"^^^Red Rydermouths.

^"'^^Yeah, Jim, t h e t r u t h

of t h e t h i n g is t h a t t h e r e do gotta be somethin beyond t h e Cadillac.

know what I mean, Jim?

And beyond t h e vioHn.

Ya

Don't t h e r e , darHn?

Yeah. , . w e l l , if I took that away from you, . .I'm s o r r y .

258

MOVEMENT AND BUSINESS

(1) T tapes C's mouth and x to the
point of the counter.
(2) T sticks a knife in the counter
behind hira, and t u m s his back
to S.
(3) S rushes at T with the knife he
already had. Just before he
stabs T, T t u m s and trips S
to the floor, knocking the knife
from his hand. T straddles S
and p-ulls his revolver out,
cocks the trigger and points
it at S's right eye.
(4) c X to the downstage comer of
the DL booth.
(5) T uncocks the gun and puts it
back in his belt.
(6) S roUs over and T tapes his
hands and feet.
(7) C X toward T

TECHNICAL CUES

259

MOVEMENT AND 3USINESS

(8) T X to c.
(9) T d r a g s c to L and holds h e r
in front of t h e old man. c
s t r u g g l e s unsuccessf'ully to
get away.

TSCHNICAL CUES

CLARISSE

260

Are you?
TEDDY
No.

But I wish I w e r e .

''l want one more t h i n g from you, R e d .

want y o u to t a k e this knife

out of y o u r arm.
Ah, Stephen.

(2)

. . .and I want you to cut that tattoo

T h e n I want you to hand it to me to t a k e with me.

A h , S t e v i e , you despicable chickenshit.

CHERYL
^^^Teddy!
TEDDY
Red h o n e y , welcome home.

I t ' s no good anymore, b o y .

I t h o u g h t if a n y o n e u n d e r s t o o d t h a t , you did.
ain't to d i e , Red R y d e r .

I t ' s too l a t e .

(5) But y o u r s e n t e n c e

I t ' s to Hve, looking back on that inept c h a r g e

a c r o s s t h i s room as t h e high spot of your life's prime. . .Now roll

over and p u t y o u r h a n d s behind y o u r b a c k .

Clean out Gentleman

Jim's p o c k e t s , C h e r y l .
CHERYL
T e d d y , w e ' r e in so much t r o u b l e .
TEDDY
WeU, you can s t a y if you want.
any difference to me.

(R)

Take y o u r c h a n c e s .

Think you can save h e r , ole man?

What k i n d a game plan you give h e r for her salvation?

you g o t , s w e e t h e a r t .
man?

It doesn't make
Kuh?

Some choice

How long's it been since you had a woraan, old

How bout t h a t , sweetheart?

Kere ya got Mr. S t r i k e r who can't

261

MOVEMENT AND BUSINESS

(1) c s t r u g g l e s free from T and
r u n s to R. She g e t s his wallet
out of his back p o c k e t .
T X to A.
(2) T X to L,
c throws R' s wallet to T .
(3) C X b e h i n d t h e c o u n t e r and
g r a b s t h e n e a r e s t food from t h e
s h e l v e s and stuffs it in a b a g ,
s h e places t h e b a g on t h e count e r , and b a c k s a g a i n s t t h e
swinging d o o r s .
(4) T empties out t h e wallet and
t h r o w s it on t h e floor.

:ECHNICAL CUES

262

MOVEMENT AND BUSINESS

(5) T sets the sack at the SL
booth, he x to the phone booth
and rips out the receiver, T
X to the SR booth and puts on
his jacket,
(6) T X to S and kneels over him,
(7) T tapes S's mouth, x to SL
booth, picks up sack, puts the
gun inside the sack and exits ,

263

MOVEMENT AND EUSINESS

(8) c runs across the downstage
and out the door after T.
She re-enters and stares at L.
She X to L and debates unt-ying him. She reaches for the
knife stuck tn the counter and
CL enters, c r-uns upstage
behind the counter and hides.
(9) CL X to the cash register,
opens the drawer and checks
the contents,
(10) CL X to S and rips the tape
from his mouth.
(11) S sits up and begins freeing
his own feet and hands.

TECHNICAL CUES

264
remember t h e last time he had a woman and Red h e r e who ain't n e v e r
had one and sweet n u b s who atn't n e v e r really been k i s s e d ,

My God,

l o v e , you could become a r e g u l a r welfare organization around h e r e .

Except t h a t would be j u s t one more roll of b l u b b e r for you, woiUdn't
i t , N u b s ? t h i s t i g h t Httle girl with her fine, pointed b r e a s t s comin
(2)

b e t w e e n y o u a n d Mr. S t r i k e r .
g e t h e r . (3)

A h , Mr. S t r i k e r .

Breakfast of Champions.

Get some food t o -

That where it all s t a r t e d to go b a d ,

ya t h i n k , Jim?

T h e R e v e r e n d Bob Richards polevaiUting into o u r c h u r c h e s

and h e a r t s for.

. .Wheaties!

to you and Red.^'^^

Gonna have this bronzed and send it back

You r e a d y , SWEETHEART?

CHERYL
I'm not going with y o u , T e d d y .

(5)

TEDDY
^^^When you
y o i comin b a c k , Red R y d e r ?

TeU me one last time, boy.

tell me!
STEPHEN
Never (7)
CLARK
^^^What in t h e hell!

^^^What in t h e name of sweet J e s u s !

hell're you doin?

STEPHEN
Ouch!

C h r i s t ! ^^^^
CLARK

What t h e hell h a p p e n e d ?

What the

265

MOVEMENT AND 3USINESS

(1) CL X to A and b e g i n s to u n tape her,
(2) S X to L and b e g i n s to set him
free.
(3) A X to t h e c o r n e r of t h e DL
booth.
(4) CL X to R and k n e e l s b y him.
(5) CL peals t h e t a p e from R's
raouth, and s t a r t s to u p t a p e him.
(6) R s t a n d s ,
CL c o u n t e r s SL,

TECHNICAL CUES

266
STEPHEN
What t h e heU's it look like?
CLARK
Don't smart mouth me, R e d .

It looks like soraeone held ya up and didn't

t a k e nothin is what it looks Hke.

Who's she?

T h e y didn't t a k e

nothin?
ANGEL
J u s t some b r e a d and sandwich raeat and some cereal

(2)

CLARK
How much?
ANGEL
^ ^ H e shot t h a t

raan.

CLARK
^^^Huh!

How b a d he get y a , neighbor?

ANGEL
Ya gotta t a k e t h e t a p e off his mouth before he can taUc.

CLARK
(5)
Easy d o e s it h e r e , . .
RICHARD
^^^CaU t h e sheriff.
girl out of h e r e .

I'm all r i g h t .

CaU t h e sheriff and don't let t h a t

267

MOVEMENT .AND 3USINESS

(1) CL X to C n .
(2) L X to door then turns back to

CL.
(3) S X to C a n d frees h e r .
C X to DR b o o t h , picks up h e r
vioHn a n d x to t h e DL booth
and s i t s .
(4) R X b e h i n d t h e c o u n t e r and
d r a g s c out u p s t a g e end of t h e
c o u n t e r and forces h e r to sit
on t h e UC stool.
(5) A X b e h i n d c o u n t e r

268

CLARK
S h e ain't goin nowhereS'ome bitch!

Get over to y o u r station and

get ahold of t h e highway poHce and t h a t goddcmin Garcia,

LYLE
^ ^ W h a t about h e r ?
RICHARD
What do y o u mean, what about h e r ?

She's going to be p r o s e c u t e d , t h a t ' s

what about h e r !
LYLE
I got t h e license n u m b e r , Toramy,

Ke's headin for Mexico and he's got

a loada d o p e ,
CLARK
^^^Time's s h o r t t h e n ,

Move on, Lyle,

He get across t h a t b o r d e r and

t h e goddamn Mex's'U set him up in a hotel somewheres,

Varaanos,

Chop C h o p !
LYLE
Tommy, about t h i s girl here
RICHARD
Hold it!

He's t a k i n g a load of dope into Mexico?

into Mexico. You t a k e it o u t .

that right ?
LYLE
V I .

,, u-

Ya b e t t e r tell him, miss.

(5)

You don't t a k e dope

(4)
He's heading back to California.
Is,

269

MOVEMENT ANTD 3USINESS

(1) L e x i t s ,
(2) R X to Cn,
CL c o u n t e r s SL.
(3) R X to t h e u p s t a g e wall and
s t a n d s facing u p s t a g e .
(4) CL X to t h e p h o n e booth and
d i s c o v e r s t h e t o r n out r e c e i v e r .

TECHNICAL CUES

270

CHERYL
Yes.
RICHARD
San Diego?
LYLE
I'U teU 'em,^"'-^
RICHARD
(2)
^ 'Kold it!

Hold it!

I d o n ' t t r u s t that man,

CLARK
Say now, n e i g h b o r , Lyle S t r i k e r ' s as t r u s t w o r t h y a raan as e v e r ' s been
ray p l e a s u r e to know,
RICHARD
Really ?
CLARK
Don't y o u w o r r y yourself nonewe'U get this feUa,
RICHARD
I'm not w o r r i e d ,

(3)

CLARK
T h r e e men h e r e and one feUa did t h i s ?
ANGEL
He had a g t m .

271

MOVEMENT AND 3USINESS

(1) S X SL to t h e point of t h e
counter.
(2) CL X to t h e UR cabinet to r e check t h e c a s h r e g i s t e r .
(3) CL X d o w n s t a g e b e h i n d t h e
c o u n t e r to S .

TECHNICAL CUES

272

CLARK
And w h a t ' d you d o , R e d b i r d ?

J u s t sit t h e r e on your b u t t d r i n k i n up

my coffee a n d greasin up t h e customer n e w s p a p e r ?

STEPHEN
Up y o u r hole with a t e n foot p o l e .
ANGEL
S t e p h e n t r i e d to do something.

He

CLARK
(2)
AU r i g h t , b o y , t h a t ' s all for y o u ,

You're as of h e r e and now fired.

Ya s u r e t h a t ' s all he took?

RICHARD
He took some money from me.

About a h u n d r e d and s e v e n t y d o l l a r s .

CLARK
To tell y a t h e h o n e s t to God t r u t h , boy, after that b y - p a s s o p e n , I
wanted to s h u t down at n i g h t , b u t cause a y o u r morama, I kept you on
and I s t a y e d o p e n , to t h e detriment of my nearly major s o u r c e of income.
STEPHEN
You're a goddamn c h a r i t y organization, Clark, no question about i t ,
CLARK
B o y , somebody o u g h t a wash yotir mouth out with lye s o a p ,

STEPHEN
Yeah, and I s u p p o s e y o u ' r e t h e one's gonna t r y i t .

273

MOVEMENT AND 3USINESS

(1) R X to C n .
(2) R X to DL booth and g r a b s t h e
vioHn. He s t a r t s toward t h e
c o u n t e r to sraash i t , S r u n s to
R and i n t e r c e p t s R's downward
s w i n g , t h e y reraain frozen for
a raoment.
(3) R r e l e a s e s t h e vioHn to S .
R X upstage.
C X to S , t a k e s t h e vioHn and
r e t u r n s to t h e DL booth and
sits.
S X downstage through the
counter opening.
CL c o u n t e r s u p s t a g e ,
(4) L e n t e r s and x to R.
(5) R t u r n s to L,

TECHNICAL CUE5

274

RICHARD
(1)

Why d o n ' t you b o t h s h u t up!

CLARK

Say now, neighbor

RICHARD
Shut up!
CLARISSE
Richard.

. .

RICHARD
(21
And why d o n ' t you s h u t up too! ^ '

STEPHEN
I. . .I'm. . .(3)
LYLE
(4)
Got t h e highway poHce out after him.

I told 'em ya had to be in New

O r l e a n s a n d t h e y said you'd have to come on down to t h e station and

sign some p a p e r s f i r s t ,

I told 'era you was shot a little,

They'U have

a doctor t h e r e ,
RICHARD
(5)
Very phUanthropic.
y o u ' r e not s e r i o u s .
CLARK
S'pose s o .

What did t h e y say to do with h e r ?

Surely

Can you take this girl and lead us to the police.

275

MOVEMENT AND BUSINESS

(1) CL X a r o u n d t h e end f t h e
c o u n t e r and leads c to t h e door.
(2) R X to C.
L c o u n t e r s to SR.
(3) S jumps over t h e c o u n t e r .
(4) C X to S .
(5) S X to CL.

TECHNICi-L CUES

276

RICHARD
O h , I wouldn't want to p u t you o u t .

Any of you I'd hate to insist on

a n y a d h e r e n c e to t h e law.
CLARK
Don't w o r r y none about a d h e r e n c e to t h e law.

We a d h e r e p l e n t y .

RICHARD
(2)
AU r i g h t t h e n , let's go, C l a r i s s e .
CLARK
You get on t h a t chile s a u c e .

I b e back to check t h e books in a whUe.

STEPHEN
(31

Hey!

T a k e me as far as Baton Rouge.

RICHARD
I wouldn't t a k e you as far as t h e front door.
STEPHEN
WiU Ya?
RICHARD
What a r e y o u a s k i n g h e r for?
CLARISSE
You don't h a v e y o u r clothing, your

(4)

STEPHEN
I'm r e a d y to go j u s t Hke I am.

Gimrae my p a y , C l a r k .

(5)

277

MOVEMENT AND BUSINESS

(1) CL guides c a r o u n d t h e side of
t h e DL booth to s i t . He r e mains s t a n d i n g b y t h e d o o r .
(2) S X to L.
R c o u n t e r s SL.
(3) S X to C

TECHNICAL CUES

278

CLARK
What's y o u r moraraa gonna s a y , boy?
STEPHEN
(2)
H e r e ' s forty b u c k s .
at P o t t e r ' s for me,

You lend rae t h i r t y - f i v e and you b u y t h a t car

You wanna do t h a t for rae stiU?

LYLE
Sure,

Red,
STEPHEN

J u s t tell h e r I'ra goin to Baton Rouge and when I get settled in I'II
write,
LYLE
S o n , s h o u l d n ' t you check in with Miz WiUiaras first?
STEPHEN
You gonna gimme a h i t c h ? (3)
RICHARD
No, I'm s o r r y .
CLARISSE
We'U t a k e y o u .

We'U t a k e him as far as Baton R o u g e .

RICHARD
I'm not at aU s u r e I'm going on to New O r l e a n s .
CLARISSE
T h e n I'U t a k e him.
AU r i g h t ?

I'd Hke you to come with me. , , b u t if you c a n ' t .

279

MOVEMENT ANT) 3USi:-ESS

(1) R and C exit.
L sits on t h e Cn stool.
(2) S x to CL.
(3) CL and c exit.
S X b e h i n d t h e c o u n t e r and
p i c k s u p his c i g a r e t t e c a r t o n
and his s h i r t , he x toward
the door.
(4) A X to t h e d o w n s t a g e c o r n e r
of t h e c o u n t e r .
S s t o p s and t u r n s to A.
(5) S X to A and mushes h e r on
t h e s h o i U d e r s , he x to t h e door
and p a u s e s .
(6) S e x i t s .

TECI-iNICAL CUES

RICHARD

280

Looklet's go down to t h e police station, ' ^

STEPHEN
(2)
Gimme my p a y .

AIl rightnow t h e next tirae you talk to old man

F o s t e r , you tell him for rae t h a t he can take this whole dtner and ram
it up his r o s e y r e d r e c t u m .

You teU him that for me, wiU ya?

CLARK
I'U b e s u r e to tell him, R e d .
STEPHEN
Y e a h , you teU him t h a t and I'll appreciate i t .

And then you tell hira

when h e ' s got t h a t d i g e s t e d real good in his intestines t h a t he should

rara y o u r i g h t up t h e r e after i t .
CLARK
I'U b e back,^^^
ANGEL
Stephen!

you t a k e care of yourself now.

Okay?

STEPHEN
Don't w o r r y about ole Number One h e r e ,

ANGEL
G'bye,
LYLE
I t ' s good.

He'U b e b e t t e r

off.

So long, s u c k e r s ,

281

MOVEMENT AND 3USINESS

u...,,.^

TECHNICAL CUES

282
ANGEL
OhI a g r e e ,
LYLE
Y e p , got himself a real good f u t u r e in stock in he can get goin with
Miz WilHams,
ANGEL
I'U b e t i t ' s a real nice place s h e ' s got.
LYLE
Oh y e a h n o d o u b t about t h a t .

Ya don't have a r e s t a u r a n t in Baton

Rouge w h e r e t h e help wears t u x e d o s l e s s ' n y o u ' r e r u n n i n a high class

establishment.
ANGEL
I'U s a y .
LYLE
Welp, g u e s s I b e t t e r get to cleantn sorae rooras.
tonight?

Sunday.

Coratn over for T . V .

Got "Bonanza."

ANGEL
O h g e e , I don't t h i n k s o , L y l e .

I t h i n k . , .ray mom and rae, we had

a e x t r a special good one t h i s mornin,

Maybe I o u g h t a just go home and

s p e n d t h e evenin with h e r and gra'ma,

LYLE
Sure,

Sure.

No need to explain,

y o u ' r e welcome anytime, k i d .

. .

Maybe tomorrow n i g h t .

Any-time.

You know

283

MOVEMENT AND BUSINESS

(1) L X to t h e Door.

TECKNICAL CUES
(L8) S t a g e l i g h t s fade to blackout.

(2) L e x i t s .
(3) A looks a r o u n d t h e d i n e r , s h e
raoves to t h e c o u n t e r a c r o s s frora
S stool,
She picks up his d o n u t and
b e g i n s to eat i t .

(L9) House l i g h t s fade up to

fuU.
(S5) J u k e - b o x b e g i n s to p l a y ,
"Whatever Happened to
Randolph S c o t t . "

284
ANGEL
Car j u s t pviUed into t h e s t a t i o n , Lyle.
LYLE
Hmmm?
ANGEL
A car.
LYLE
AH.
ANGEL
For g a s , it looks Hke
LYLE
Welp. . . s e e ya at l u n c h , Kid,
(3)
(L8)
(L9)
(S5)

^ ^Okay, Okay. . .I'm comin, . . ^^^

CHAPTER V
EVALUATION
T h e evaluation of t h e L a b o r a t o r y p r o d u c t i o n of When You Comin
B a c k , Red R y d e r ? was held in t h e Green Room of t h e University T h e a t r e
on March l l t h .

T h e d e s i g n e r s , with t h e exception of Jack P , Hagler,

w e r e p r e s e n t as weU as t h e e n t i r e cast of t h e p l a y .

Members of t h e

faculty who a t t e n d e d were D r . Richard A. Weaver, D r . George S o r e n s e n , and Professor Ronald S c h u l z .

T h e evaluation b e g a n with an explanation of t h e directorial conc e p t for t h e p r o d u c t i o n and was foUowed b y t h e d e s i g n e r s ' explanation
of t h e i r c o n t r i b u t i o n s to t h e concept.
D r . Weaver felt t h a t t h e s c e n e r y was not in stylistic agreement
with t h e reaHstic a c t i n g in t h e p r o d u c t i o n .

He felt Regan Kimmel had

successftUly c r e a t e d t h e en'vironment of a working d i n e r .

However, his

objection was b a s e d on t h e premise t h a t t h e c h a r a c t e r s were physicaUy

t r a p p e d a n d t h e Wcdl t r e a t m e n t , t h o u g h implying soHd sTirfaces, a c tuaUy had l a r g e holes t h r o u g h them which d e s t r o y e d t h e iUusion of
entrapment.

D r . S o r e n s e n , on t h e o t h e r h a n d , felt t h a t t h e design

faciHtated g r e a t e r focus on t h e c h a r a c t e r action and t h a t t h e waU

t r e a t m e n t was not d i s t u r b i n g .
T h e costume d e s i g n was d i s c u s s e d and t h e general consenstis was
t h a t t h e d e s i g n foUowed t h e period s t y l e s and complemented t h e conc e p t of t h e p r o d u c t i o n .
costvime.

T h e r e was some c o n t r o v e r s y o v e r Ms. O'Neil's

S e v e r a l faculty members felt t h a t C h e r y l ' s costxime did not

285

286

adequately reveal her breasts; this weakened the credibility of the r e peated line references about her breasts, and also weakened Teddy's
motivation for disrobtng Clarisse during the second act.
Professor Schulz directed his coraments toward character development and the rehearsal process,

He felt that an interesting aspect of

the production was the development of the characterization from flat

surface portrayals in the first act to complete personalities by the end
of the play.
OveraU, the faciUty felt the production as a whole was a success.
They compHmented the actors on the degree of credibiHty they achieved
with the play, as weU as the control they demonstrated in the fight
scenes.

The amount of tr'ust exhibited on stage between the actors

was also praised.

The first five evenings of performances were sold out, and the
audience was t h r e e - q u a r t e r s full for the remaining four performances.
Also, many audience members attended the play more than once.
The production was reviewed by WUHam D. Kerns of the Lubbock
Avalanche-Jo;irnal and by Inez Russel in the University Daily.

Both

reviews were lengthy and reinforced the acting and production success
of the cast and crew.
T h e acting style chosen for When Y'ou Corain Back. Red Ryder?
and the development of that style in rehearsals was successful because
of the degree of reaHty the actors achieved in performance.
of realisn enabled the audience to, become deeply involved.

This level
Therefore,

the audience understood more clearly the individual identity crisis of

the sixties in Araerica.

BIBLIOGRAPHY
Books
A d a m s , L e s , and Rainey, B u c k . Shoot-Em-Ups: T h e Complete Guide
t o Westerns of t h e Sound E r a . New York: ArHngton House
P u b l i s h e r s , 1978.
B i e r s t e d t , R o b e r t . T h e Social O r d e r .
HiU Book Company, 1974.

4th e d .

New York:

G u e r n s e y , Otis L, , J r . , e d . T h e Best Plays of 1979-1980,

D o d d , Mead, & Company, 1980,
H o t c h k i s , J o a n , and Morris, E r i c . No Acting Please.
Whitehouse/SpeUing PubHcations, 1979.
Medoff, Mark. When You Comin B a c k , Red R y d e r ? .
James T . White & Company, 1974.

McGrawNew York:

Los Angeles:
CHfton, N . J . :

R u b i n , T h e o d o r e I s a a c . Compassion & Se f-Kate: An Alternate to

D e s p a i r . New York: Ballantihe B o o k s , 1975.
WiUis, J o h n , e d , T h e a t r e World: 1973-1974,
Crown P u b H s h e r s , I n c . , 1975,

Vol, 30,

New York:

Encyclopedias
Who's Who in America, 1980-81, 41st e d ,

S, v , "Medoff, Mark Howard."

Newspapers
B a r n e s , CHve. " T h e S t a g e : 'Red Ryder' Aims to S t a y , "
T i m e s , 7 December 1973, s e c . 2, p , 31,

New York

G u s s o w , Mel, "'Red R y d e r ' is 2nd Winner From Circle R e p e r t o r y , "

New York Times, 7 November 1973.
K e r r , Walter. "The Man Who Came to t h e D i n e r . "
23 December 1973, s e c . 2 , p . 5.

New York Times,

Periodicals
Asen, David.

"Sad Cafe."

Newsweek. 26 F e b r u a r y 1979, p , 81,

287

288

C l u r m a n , Harold,
Cowley, R o b e r t .

"Theatre,"

Nation, 26 November 1973, p , 572.

"The H i p p i e s . "

Horizon, 10 (Spring 1968):

H u g h e s , C a t h e r i n e , "When You Comin' Back, Red R y d e r ? . "

29 December 1973, p-, 506,

2.
America,

K e n i s t o n , K e n n e t h . " Y o u t h , C h a n g e and Violence,"

37 (September 1968): 238,

American Scholar,

McDonald, WiIHam. "Life and Death of t h e Hippies."

S e p t e m b e r 1968, p , 152.

America, 7

M a n n i n g , R o b e r t . "Arts and L e t t e r s :
224 (Septeraber 1969): 123,
Morris, George,
p . 125.
Rich, F r a n k .

"Lonesorae Cowboys.''

"Out to L u n c h . "

T h e War at Horae,"

Atlantic,

Texas Monthly, 7 April 1979,

Tirae, 12 March 1979, p . 77.

W e s t e r b e c k , CoHn L. "Little Red Ryderhood: When You Corain Back,

H. B o g a r t . " Commonweal,. 106 (AprU 1979): 215. .
New York T h e a t r e Critics' Reviews
G o t t f r i e d , Martin. " T h e a t r e : 'When You Comin' Back, Red R y d e r ? ' . "
Women's Wear DaUy, 10 December 1973, in Blake, B e t t y , and
Marlowe, J o h n , e d s , New York T h e a t r e Critics' Reviews, Vol.
34. New York: Critics' T h e a t r e Reviews, I n c . , 1973.
KroU, J a c k , "You Bet Your Life." Newsweek, 4 Noveraber 1974, in
B l a k e , B e t t y , and Marlowe, J o h n , e d s . New York T h e a t r e Critics'
R e v i e w s , Vol. 35. New Y o r k : C r i t i c s ' T h e a t r e Reviews , I n c . ,

T97I:
WABC-TV. "When You Comin Back, Red R y d e r ? " 6 December 1973,
Kevin S a n d e r s . Blake, B e t t y , and Marlowe, J o h n , e d s , New
York T h e a t r e Critics' Reviews, Vol, 34. New York: Critics'
T h e a t r e Reviews, I n c , , 1973,
Wilson, Edwin, "A Crisis in a SmaU D i n e r , " The WaU S t r e e t J o u r n a l ,
17 December 1973, Blake, B e t t y , and Marlowe, J o h n , e d s . New
Y o r k T h e a t r e Critics' Reviews, Vol. 34. New York: Critics'
T h e a t r e R e v i e w s , I n c . , 1973.

APPENDIX
A,

Production Photographs

B,

Newspaper Reviews

289

290

.'\ppendtx A
Production PhotosraDhs

291

Fig. 1.
Stephen daydreams about a "Corvette Sting Ray.
(p. 94)

292

i*^>--.:^;.i?- ;'A';'.w:rv:vrr,vr--;

Fig. 2.
Teddy forces Stephen to explain his tattoo.
(p. 162)

295

Fig. 3.
Richard and Clarisse, after Richard is shot.
(p. 199)

296

297

,.y.y.y.y.y.y.y.y.y.y.y.y.y.y.y.y.y.y.,J

\UU

f WtiinH :

Fig. 4,
Teddy teases Angel about being fat.
(p. 208)

!iU!i!-fif--i!i!i!-

298

299

Fig. 5.
Lyle refuses to dance.
(p. 251)

300

301

F i g . 6,
Mr. C l a r k exits with C h e r y l .
( p . 280)

302

303

Appendix B
Newspaper Re-views

304

Pain Begets Pain In Chilling

Lab Theater

Lubbock AvalancheJournal,
Sunday
(morning) , March
2, 1980. S e c t . A,
p . 14.

Production

By WILLIAM D. KERNS
A>J Entertainment Editor
If the Texas Tech University Lab Theater production "of
Mark Medoffs "When You Comin' Back, Red Ryder?" illustrates one point with more luminance than the rest, it is that
pain begets pain.
It is violent and verbally cruel theater which. on ihe surface,
deals with a seemingly psychotic and certainiy disillusioned
man named Teddy terrorizing the employees and customers of
a run-down New .Mexico diner. Many in Friday's opening night
audience seemed to look no further one viewer even laughed
at a particularly chilling moment and said. '"Sure is actionpacked.. huh?" which is a shame because the play's real
triumph comes in our relization that Teddy is the most important character in the piay only because of his roughshod attempts to express his own pain.
This is not cops and robbers, but an opportunity for victims
to undergo a violent autopsy of seli and possible saivation from
facade. A^d it works because of the excellent characterization
conceived by actor Patrick Remmert and director Susan B.
Fortenberry. Indeed, no matter how interested we are in the
. (ates of the cap'tives. we cannot heip but remain curious as to
what happened to Teddy before tliat day, before tbat year. before he decided that. "Jaus Christ, somebody puiled a fast
one."
- The play opens with the expected character introductions:
David Graiiam is Stephen Ryder. a big-talk and no-action wimp
who prefers to be called "Red" (it is Teddy who first makes the
connection to the old westem hero Red Ryder). Terry Tittle is
the virginal waitress who puts up with Ryder's irritating verbiage because of her affection for him. Tamblyn Rae Hayes i5
the concert violinist and Bradley Michael Carapbell is her condescending husband. playing ego games with the counter help
and answering all questions asked of his companion. David
CooneyJr. is Lyle, th crippled proprietor of the town's motel
and gas station.
Their moming starts out as a continuation of every day before, but taiies a sudden detour when Teddy and his girlfriend
Cheryl (Sara O'NeiIl) walk in. An instant observer, Teddy eyes
the clientele and serves up sarcasm while.awaiting his steak
^nd eggs. Killing time for a couple hours, Teddy becomes more
ahd more frightening as he begins to size up the people around
him. striking ihem in a phvsical fashion occasionally, but hurting them more by beating them with the truths they.'ve attempted to keep hidden. As they await the final verdict of
whether they will live or die, they are forced to face themselves.

305

Some benefit from it most don't. But all are changed in

some fashion by the time Teddy walks out of the diner.
Remraert's performance as Teddy
THEATER
is one of chilling,
volcanic
passion:
lying dormant for
REVIEW
long stretches before
erupting in emotional outbursts. His Teddy is not a common criminal; he seems
driven by a purpose other than mere robbery or sadism. His
dialogue and choice of expressions reveal hira to be intelligent
and well-educated, which contrasts well with his boorish manner. He is also more wise to the world than the rest of the participants; we feel he's seen more, experieneed more, no doubt
felt more. He sees the big screen bravado people associate with
the war dead. and it angws him. He uses the Red Ryder characler to hint of our lack of heroes, our lack of guts and caring and
iriumph.
Indeed, Remmert commands attention on stage through his
sott spoken dialogue. which carries with it more menace ihan
any shouted curses. When he physically intimidates one character and says softly, "Please care what I think," the threat sends
a chiUTunning rampant through collective spines. And yet. despite the cnideness, despite the degradation he forces his victims to endure, there is a grain of importance in Teddy's aots.
Yu'v,^t_to see_y.QurseIf In relatjon_to other_ people's
needs," he says. and it's impossible for us not lo care what he
thmks.
Remmert is helped in no small manner by the acting performances of Campbell and especially Terry Tittle as the waitress naraed Angel. The latter's shy innocence grows in effeciiveness throughout the play, and director .Miss Fortenberry uses her loss of hope in such a way at the play's conclusion that
the impact is still felt as we leave the theater. Graham, on the
olher hand. is cast well as a bratty punk but even in this role.
he has a tendencv to overdo things.
Scene designer Regan Kimrael has constnicted a perfect
replica of the small town roadside (^ner, right down to the pay
phone and jukebox compUmenting the stale doughnuts. But it
is Patrick Remmen's ability to righten us while arousmg our
curiositv which brings the playwrighfs points home. Shovmg a
pistol b'arrel in Graham's whimpering- face at one point. Remmert fights to regain self-control and says," Your sentence ain't
to die. Red Ryder. Ifs to live"
As judgeand jurv. he grants the others the same sentence-^
but. for most of these characters and perhaps a few in the audience. living wiU no longer come as easily as it did before Teddy
walked through. those cafe doors.
.
"When You Corain' Back. Red Ryder" wiU be staged at 8:13
p m todav through Saturday at the Lab Theater on the Texas
Tech University campus. The play contains.a large amount of
profanity and is not recommended for children. CaU (42-3601
for ticket information.

306

Dreams revea! truth

in 'Red Ryder'
By E^fERUSSELL
UD Entertainment Edltor
Dreama are tbe.stuff of
wliich men are -^ade.
Playwright Marlc Medoff
kr.ovs that, and to introduce
us to a group of people, he
shows ua tfaeir dreama in hia
intense drama, "When You
Coming Badc, Red Ryder?"
Medoff iaolates his environment - an all-night diner
in New Mexico - and his
people. This isolati n causes
each person to reveal more
truths about themselves than
they ever would have under
normai sitaationa.
And the truth never would
have come out without first
lookin at their dreams.
Tddy (Patridc Remmert)
is tfae catalyst 'who forces each
person ta look at themselves.
With unerring accuracy, he
looka at each person and sums
them up.
By the end of tbe play, we
hate Teddy. He tums fnnn an
amiable person to one who
tQTorizea six people.
WBen tfae owner o the cafe
retuma, be asks howdne man
coold frighten everyone that
mucfa. After all, be says, tbere
were tfaree men at the cafe.
But witfa Teddy, tfaat Wnd of
toTor iposaible.

T h e Universit-y D a i l y .
M o n d a y , March 3 ,
1980.
p . 6.

Because Teddy mesmerized

hia captives. And one by one,
he expoaed their fears and
dreama. Remmert's performance aa Teddy was
strong, fbrceful and almost too
believable. He bacame the
essence of evil as we watched.
"Red Ryder" is an extremely
violent play, and in tfae small
connes of tbe Lab Theater. it
is almost too strong. But the
eSect of the play is enfaanced
great^.
Director Susan Fortenbeny
gathers all the tfareads of the
different characters, and
togetber f(^es them into a
force which makes a deep
imprssion lipon the aiidience.
Very
smartiy,
Fortenberry's actors makes her
give subdued performances,
except for Teddy, which was
absoiuteiy necessary, and for
David Graham as Stephen
Ryder, wfao has a tendency to
overplay.fais part.
Graliam at timea, tfaougfa,
was extremeiy moving as the
young punk wfao dreams of
better tfaings. But as we all
know, he is a dreamer witfaout
tfae cfaaracter to work on hia
dreama. He will not "put up or
sfaut up," as one character
says. Instead Ryder will
continue hia meaningess
imagining, never putting fortfa
tfae effort to accomplish
anytfaing.

Only Teddy, as herpsapart

the pretaise with which Ryder
surrounds himself, finally
forces tfae boy to reach out for
his dreams.
Unlike Graham, Terry
Tlttle gives an understated
performance. As Angei, tbe
waitress who secretly loves
Red Ryder, her character
becomes more iraportant as
the play continues. And she
becomaa more impressive as
m iictress as well.
Other characters in play are not so importaht, but all are
well-played. In fact, T.H.
Maynor, who has a small role
p s Mr. dark, the owner of the
diner, gives a vigorous performance although he is
rarely on stage.
The polished acting of the
players complements the
other elements of the play.
Ihe scene designer,, Regan
Kimmei, created a diner tfaat
closely resembles those you'U
Snd in small New Mexico
towns.
The seediness, the afanost>
poverty striken look of tfae
diner matches the dire expectations of the people who
work and visit there.
Together, these parts create
a powerful theatrical experence.
"When You Coming Back,
Red Ryder?" wUl be
presented at 8': 15 p.m. today
through Saturday.