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The Writers Post VOLUME
7 NUMBER 1 JAN 2005
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UYEN NICOLE DUONG ___________________________ What has happened to “May all your wishes come true”
A four-act play by Uyen Nicole Duong, in collaboration with Robert Wilcher (for the development of the character Eurydice) copyright 1995 This play is available bilingually (Vietnamese and English)
Nhu-Nguyen, code "NN" (in
English, the name means "May All Your
Wishes Come True," pronounced “Nu-Wen”): a Vietnamese American political
immigrant woman living in North America, still beautiful but tired. Psyche of Nhu-Nguyen: a walking soul, non-speaking, wearing
a white Vietnamese national dress Young Man:
a beautiful man, with no malice in his heart. Eurydice: beautiful in a non-specific,
non-recognizable way; somewhat willowy and almost transparent. About
the Greek myth of Eurydice: Eurydice was Orpheus’s lover. She died and went to Hades. To rescue her, Orpheus went to Hades and
charmed everybody with his beautiful music.
That way, he was able to cheat Death and bring Eurydice back to Life,
but only if Eurydice would follow him and walk behind him, in his footsteps,
on the way from Hades. To rescue his
lover back to Life, Orpheus could not
turn around to look at her. Impatient and unable to control his love, Orpheus
turned around to look at Eurydice just before the pair reached Life. Eurydice died the second time, thrown back
into Hades.... In this play, the concept of Hades and the
Underworld has deliberately been reinterpreted to accommodate an injection of
the layman’s version of Buddhist philosophy.
The purpose is to draw out similarities between Eastern and Western
mythologies in terms of an after-life. Hades and Charon have become concepts
that transcend East and West in this play.
Charon the Ferryman:
a dark shadow; clad in black, having no face, except that his devilish
eyes and smile are visible. Father, Mother, Husband, and Friend:
normal people, no special characteristics. Doctor, Nurse, LightHouse Man, Rescue
Boat Captain, Coast Guards, Paramedic: either
voice only, or (where they appear), dressed in accordance with their
profession. SET: This play needs no set. Setting is
created with skilled light and sound techniques, the kind of light and sound
techniques that deliver and accompany choreographed dances. The spotlight plays an important role in
character introduction, development, and the transgression of each scene and
act. SUGGESTED
CAST: Eurydice: Meryl Streep, Juliane Moore or Gwynneth
Patrow Ferryman: Jack
Nicholson, Christopher Walken Young Man:
Some unknown newcomer to Broadway, in perfect physical conditions; an actor that most resembles the statue
of David. Nhu-Nguyen: Played by any
Asian woman blessed or cursed with such a name, at 45 years of age. (At 45,
being of genetically delicate bone structure and nice skin, this actress
should look 35) SYNOPSIS: Somewhere on the face of the earth,
during a sailing trip, Nhu-Nguyen (code name "NN") was knocked
unconscious by a sail boom. In her
near-death experience, she met Eurydice, who was en route to Hades... ACT I -- LIFE
AND REMMINISCENCE Stage:
(BLACKOUT) Background: (the
sounds of the ocean, the wind, tides,
and sails knocking against each other, flapping violently.) Young
Man: Going about! Let it all off!
Watch your head on the boom! Release it, release it! Now onto the other side, pull it on, pull
it on. Hard. Go go go, quickly! The jib sheet too, pull
it on. Lean, lady, lean out, use the
trapeze...Come on come on. Just lean
harder, we'll keep it sharp to the wind.
We're flying! Lean lady. A
couple of seconds more and we'll go about.
Don't stop leaning lady. Are
you ready? Nhu-Nguyen: Ready?
My hands are blistered, my knees are bruised, my eyes are salty... Young
Man: Lean hard, lady! NN: and my stomach muscle...I just can't go
on...I am breaking in half...I just can't take it any more... Young
Man: Now, lady, now. You're doing
good! Let it go let it go...pull on
that one, move! faster! Swing it around and keep your head low...Watch the
boom... (The sound of sails flapping increases in volume and
overcomes the Young Man's voice. Then
comes the noise of the boom cracking against some hard object. Nhu-Nguyen yells in pain. Noise of the boat capsizing.) Young
Man (shouting): Oh God, we're done! Lady, Lady, can you hear me, where are
you? (Sound of water being disturbed. Sound of wood cracking. All violent and swift.) Young
Man: Lady, lady, hold on to my hand, try to keep
your head above water, hold on...(breathing
heavily, amidst sounds of tides and waves) Oh, no! (Noise of people swimming, treading and
struggling in water. (Then, all sounds subside. Silence.) *** (Spotlight beams on Mother sitting at a vanity
table [If setting does not include a vanity table, Mother will be miming the
process of applying makeup]) Mother: Nhu-Nguyen! I am going out. Will you stay here and look after your
baby brother? NN: Why do I
have to look after him? Mother: Don't be so naughty. You must look after him because he is a
baby, and I must go out for business... NN: I don't understand
why you have to go out for business so often. Mother: You're being argumentative. You should behave
well to set an example for your baby brother (continues to apply powder and adjust her necklace). Have you forgotten the saying, "she
who is destined to be the big sister should not be envious of the indulgence
bestowed upon younger siblings, for they are to be loved and protected simply
because they arrived late." You being the first born must look after the
younger ones. NN: But the baby is naughty. I clean up after him all the time. Mother: As I said, you were born first. You’re the early arriver. That in itself
is a privilege for which you must bear certain sacrifice... NN: Can I just crawl back into
your tummy so that I can no longer be the first born and be spared the job of
cleaning up after the baby? I want to
be a late arriver. Mother
(losing her temper): Don't you talk nonsense with me! (softens
her voice) By the way, will you make your father some tea when he gets
up? Don't you love your Dad? NN: Of course I do! Mother: Good! (Stand
ups, grabbing her purse). When
I am out, will you take care of your Dad?
Make him some tea, and take his shoes to him. And then, you can accompany us on a trip
to the country. That's your reward.
(Starting to leave)
Remember, the baby, and then tea and shoes for Dad. Good girl! (Exits) *
* * (Spotlight then beams on NN and Friend, both
dressed as eight-year-old's) NN: My mother has just left. My brother is still sleeping. My father is taking a nap. We can play! Friend: Play? NN: The other day, my parents took me to
their friends' house. Those people
had sketches and colors on their walls.
I still remember what they look like, those sketches. My parents like them. They keep telling
their friends, "Oh!
magnificent." Why don't you and
I try to draw them on the wall here?
I think my parents will like what we do. They'll be so proud of me. Friend: I think we'll get spanking. NN
(miming, painting on an imaginary wall,
experimenting with a brush and crayons): See, there is a tree, green and yellow...(completely involved in the task)
There is the sun, and the mountains...(turning
to Friend) Why don't you paint
a tree? (taking Friend's hand and
put it the task, bossy) Paint! Here! Friend
(struggles to be free): No, No, I don't want to. NN
(pinning Friend's hand to the
imaginary wall): I'll let you
draw the sun. (Their struggle
continues) Friend
(yelling): I hate you! NN: I don't care! Friend: I can't draw the sun down here. The sun's got to be higher up! NN: You're too short! Your sun could be in the corner. Down there! Friend
(on the verge of tears, feeling
oppressed): You are very
mean. I don't want to play with
you. I don't want to be near
you. When you get your spanking, I'll
laugh! And you're stupid. There is no sun in a corner, on the
ground. The sun's got to be on top of
the tree. NN
(rationalizing): I am sure it's OK to put the sun in that
corner. Why not? (Friend begins to cry quietly) NN
(apologetic and consoling): Come on!
Stop crying. Would you like to
play dolls instead? Friend:
There's no doll left. You've broken
her arms. The doll is dead. NN
(very mature): Well, then, we'll have to bury her. Friend: I don't like it! NN: You have to like it. She's got to be buried. (Another struggle) Friend: You, a mean bitch! You always make other people do what you
want them to do. NN: I told you she's got to be buried. Use your shovel. Keep digging. (Continues
to dig and begins talking to herself). You hate me, and the doll is dead (suddenly fearful, reaching out for Friend. They embrace). (Mother's voice is heard from back stage): Oh my God, look at this wall. NN
(turning to back stage, happy and
proud): Don't you like my
painting? Just like your friends'
house... Mother: Oh Lord, Nhu-Nguyen, you filthy child. You did this? I was away for one minute,
and she filthed up this wall. She
drew all over the place. Look at
this. I've had it with this
child. Nhu-Nguyen, come here, you'll
get the spanking of your life. (Friend turns loose and runs away in fear. Spotlight remains on Nhu-Nguyen) NN: My doll is dead. My mother doesn't like the painting I did
for her. And my friend left me. I don't understand adults. I don't understand children, either. (BLACKOUT)
* *
* (Sound of tides and waves. A storm is coming. Electrical sound of a rescue signal,
together with remote sound of a motor boat approaching) Rescue
Boat Captain: Here is a float! (Sound of float flapping the water. Sound of motor boat becomes louder and
clearer) Young
Man (breathing heavily, amidst
sounds of water and motor):
Will you pull her up? (Mixed sounds of water and motor continue,
something sounding like a siren, plus voices over the radio; sound of water
continues as bodies are being pulled aboard) Young
Man: Lady, lady, please wake up. Oh God look at her eyes...Will you please
help? Rescue
Boat Captain: OK OK (on the radio) We've got an emergency... (Heavy breathing; a sense of urgency is expressed
through all of this. Sound of beating
on the chest, slapping on the face, etc.
Heavy and rhythmic breathing continues. Spotlight reappears, showing Young Man miming
mouth-to-mouth resuscitation. Then BLACKOUT again.) * *
* (Spotlight on Father and Nhu-Nguyen (now in her
late teens) in center stage) Father: Nhu-Nguyen, you have always been my
favorite child, always making me tea. NN:
(non-communicative) F: I need to talk to you... NN: What about, Father? F: I think you will understand it much
better when you get married...You see, marriage is not an ideal thing. NN: Is there anything at all in life that
is ideal? F: If there is, I guess you're gonna to
have to find it on your own. NN
(thinking): I suppose you're trying to tell me you and
Mom are no longer together. F
(relieved, but cornered): Something like that. (Pause) F: You've always been a good
daughter. You've always been strong
and responsible. You’ve always taken
care of your mother for me. I just
want to ask if you can continue looking after your mother. I'll stop by now and then. I really think you'll understand it better
when it's your turn to get married.
But I do hope when that happens, your marriage will be better than
ours. NN: If only I could trust somebody... F (upbeat): So you do understand. I am very much relieved. I feel much better having you with your
mother. NN
(to herself): I do want and hope for something ideal... (BLACKOUT) * *
* (Voices of people talking, amidst the sound of
the sea and fast-speed boat flapping water. This whole scene is voice over
the radio while sound of motor boat continues) Coast
Guard: Any hope? Rescue
Boat: Pretty bad. Coast
Guard: That's too bad. Rescue
Boat: You know who she is? Coast
Guard: A chick. Got hit in the head by a boom...She went
sailing with some guy. I guess she
was on vacation. Has been
unconscious for a long time. Rescue
Boat: The world is crazy. To die during a vacation for such a stupid
reason. Coast
Guard: Well, it could happen to
anybody. She's lucky. The friend she's with is a good guy;
otherwise, she would have been inside a shark by now.. Rescue
Boat: A friend or boyfriend? Coast
Guard: Who knows? Rescue
Boat: I told you. The world is crazy. Sometimes a friend and a boyfriend and a
husband are three separate persons, and some women can have all three at the
same time. Wouldn't be surprised if
later some guy turns up to claim her as his wife. (Changing his tone)
We have to notify the paramedics immediately. An ambulance, too.
Hello, hello... Young
Man: I have to put her down. Can I go with you and the ambulance? Rescue
Boat: What about your boat? Young
Man: Forget it. I just don't want her to die. (Mixed sounds of water, the storm, the wind,
voices on the radio, the motor, and water flapping against a fast-speed boat
continue, all working into a frenzy) * *
* (Spotlight reappears, center stage, introducing
Husband and Nhu-Nguyen) Husband: You haven't changed, but I have. NN: What is it now? H: I hope you understand. I don't think we are in love with each
other anymore. NN
(non-communicative) H
(guilty, ill at ease): You know, news of this sort is never
easy to deliver. (A long pause for the news, yet delivered in
words, to sink in) NN: Where are you going now? Who's going to take care of you? H: I will move in with a friend... NN: Which friend? I need to know in case of emergency... H: I meant to tell you... NN: I think I need to know. H (embarrassed, ill at ease): If you need to get hold of me, you can
ask Blue Orchid (Thanh Lan)... NN: Blue Orchid? Why on earth...Blue Orchid?
You mean Blue Orchid my secretary? H
(looking away): That's how we met. NN
(still stunned): Why Blue Orchid? H: We didn't really want you to
know...Oh no, I didn't meant to say that...We meant to tell you... NN: You guys are having an affair? H: Kind of...Something like that...But
it's not what you think. NN: You don't know what I think. Any way, does she plan on staying there
and continuing working for me? H: Well, we'll figure something
out. Of course, I'll help solve the
situation. Everybody thinks so
highly of you. Everybody knows you're
a class act. You wouldn't make a
scene, wouldn't take petty revenge, would you? NN: Apparently you ha've had it all figured
out. I still don't understand... H: Let's say, fate. Blue Orchid and I met, through you... NN: I believed in both of you. H: Well you can still believe in
us. We're still your friends. We respect you. (A rather long pause) NN: I don't think you understand. You haven't changed at all, but I have. (Spotlight dies out. BLACKOUT) ACT II -- MEETING WITH EURYDICE (Center stage is lit up. Threads of silver light beams cross one
another on stage. Eurydice appears,
almost like a transparent shadow. Her
silhouette is not well defined. There
are faint sounds of footsteps, rhythmically, in the background. Eurydice sobs and begins her monologue,
her voice passionate, tragic, occasionally interrupted by her own sobbing.) Eurydice: Orpheus, your steps are my heartbeat,
surging through my congealed veins. My skin thrills at your lively
steps. Orpheus,
your legs are pillars of fire, enflaming my cold soul. My hips burn for their hot embrace. Orpheus,
your cheeks are two caged doves, trapped in flight. My sex yearns to spread their wings. Orpheus,
your back is the broad valley of the ascent from Hades. My breasts ache to
rest in such valley of life. Orpheus,
your shoulders are the temple of Adoration.
My red lips tremble to sweep the steps of the temple. (Music begins, soft and melancholy; Eurydice's
monologue continues; her passion increases with the crescendo of music, her
delivery more intense and then peaks in pain) Eurydice: Orpheus, your arms are two solid branches,
laden with fruits. My body craves the
taste of your fruits. Orpheus,
your hair is the dense veil obscuring your face. My eyes cry for the terror of seeing your face. Orpheus,
turn around! But, don’t! Don’t turn
around. Not yet! Strange
how my love for life would be my death. Orpheus,
look at me. I am Eurydice. But don’t!
Do
not look at me. We can cheat death if our eyes do not meet. Orpheus,
kiss me. I am your lover. But don’t! Do
not kiss me. It is the kiss of second
death to be face to face. I
am lifeless without your turning, and lifeless with it. Blind
without your look, and unseeing with it. Your
kiss is both my body and its dust. Withhold
your passion, my love. Walk,
lover, and be patient. Endure this
brief journey. When
we soon see life again, the pleasure shall be longer than, and beat, the
pain. (Music softens and dies out; so do the rhythmic
sounds of footsteps in the background.
Eurydice retreats into backstage, her back to the audience, head
lowered, her hair flowing toward the audience. As she exits, all silver light beams take turns extinguishing, except one. The remaining stream of silver light
follows her to the end as she finally exits, and then abruptly extinguishes.) BLACKOUT. *** (Spotlight on Nhu-Nguyen, appearing in center
stage). NN (very lonely): Is it really over? (Sound of the wind. Remote, fierce and
lonesome. Then comes the sound of footsteps,
as though in the thousands, all rushing toward some destination.) |