This play is for use in college theater classes and auditions. It is excellent for voice-acting practice or auditioning for a narrative part. If performed, there is a minimum of props and scenery, furthermore, so use of it in a small theater class involving all the necessary parts of a play practiced at once (lighting, scenery, painting, stage preparation and changing the set between scenes, building of a small number of props, hard work for one actor and one voice actor part voice practice. The One-Act is not a musical. ...
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This play is for use in college theater classes and auditions. It is excellent for voice-acting practice or auditioning for a narrative part. If performed, there is a minimum of props and scenery, furthermore, so use of it in a small theater class involving all the necessary parts of a play practiced at once (lighting, scenery, painting, stage preparation and changing the set between scenes, building of a small number of props, hard work for one actor and one voice actor part voice practice. The One-Act is not a musical. The actor in the play uses a great deal of clarified body language in addition to his lines, whereas the second actor only concentrates on voice inflection, and only appears on stage minimally in a support role. Due to adult themes this play is not suitable for high school. There is mention of mental challenges, bullying, suicide, overcoming mental illness, passion (mostly non-sexual), and disillusionment with defunct establishment elements. The experiences are real-life and not contrived, which can provide rich discussion possibilities if the script is used in a university literature class.
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