Piese de Oliver Hailey

Animal
This humorous, touching and revealing monologue is concerned with an exasperated mother who attempts to entice her twelve-year-old daughter (unseen) out of the tree (imaginary) in which she has taken refuge. In the course of her brief recital the woman, her daughter, her late husband (who fell to his death climbing a tree) and the very nature of their lives together are revealed with startling and affecting clarity and compassion.
Continental Divide
Lucille and Cullum are wealthy New Yorkers living as virtual prisoners in their lavish Fifth Avenue apartment, the entire block being held in a state of siege by rebelling domestic servants. They are, however, allowed a visit by their new in-laws, "Mr. John" and Mae, who hail from Arkansas and qualify as simple folk themselves. Thereafter the complications multiply uproariously, as the urbane Cullum struggles (at no small peril) to be civil to the surly Mr. John (who is in the garbage business and a confessed murderer as well); while his wife tries to persuade Mae (who is dazzled by "money people") that she need not repay their hospitality by cleaning house furiously and doling out copious samples of her homemade pickled pigs feet. And so it goes until, in a final irony, Lucille (with Mr. John) runs the blockade disguised as her house guest—leaving Cullum to hold the fort and fend off the down-home ministrations of her starry-eyed replacement.
Father's Day
Left with their alimony, their children, and neighboring apartments on New York's posh Upper East Side, three divorcees share their loneliness, their often hilarious thoughts on sex and marriage, and their bitter memories of lost trust and closeness. When their ex-husbands arrive for a Father's Day reunion they are all, at first, as civilized and sophisticated as the situation demands—but then the veneer begins to crack, and beneath the fusillade of funny lines their aching emptiness and hurt show through. In the end they face the truth about themselves and the rejection that they must accept, as the biting humor of the play gives way to a moment of touching, revealing, yet quietly shattering resignation.
For the Use of the Hall
The time is winter, the place a chilly summer house on Long Island, where Allen and Charlotte, after twenty spendthrift years together, are "hiding out" —burning bogus art works for heat and raiding a neighbor's back porch for food. They are joined, unexpectedly, by Terry, a nun facing a crisis of belief, and then by Martin, a failed Broadway playwright, and his new wife. Terry and Martin are brother and sister, and Charlotte, years ago, was the girl whom Martin's mother had chosen as his intended bride. But this, like so many well-meant plans, never came to pass—nor, for that matter, did most of the hopes and dreams that all had held in their promising, and much happier, youth. The house they had come together in belonged to Bess, departed mother of Martin and Terry, who appears as a "vision" now and again to evoke the past or comment on the present—and to bring into focus the funny, albeit desperate and ultimately touching, plight to which all these zany yet very human and believable people have come.
Hey You, Light Man!
Ashley Knight (real name Orville Sheden), a leading man, has decided to live onstage in the set of his current hit. The play being a sophisticated comedy, the set is quite lavish. As he is settling down, brandy in hand, a woman comes out of the empty orchestra and asks directions for getting out of the theatre. She has fallen asleep during the performance, and now the doors are locked. This is Lula Roca, a rather plain and frumpy young widow whose husband, a stagehand, was recently killed by a falling sandbag.
Kith and Kin
Coming together for the funeral of their father (whom they all detested and, on occasion, tried to kill off) 3 bothers assemble at the family homestead in rural Texas. The eldest, Darryl, is a thrice-divorced ne'er-do-well who relishes the memory of having forcibly introduced his siblings to the world of aberrant sex; Big Boots, the middle brother, is a confused and threatening type who has been serving a jail sentence for strangling his wife; while Tommy Joe, the youngest of the three, is a "sensitive" sort who gives piano lessons and has been looking after Little Boots, his brother's young son, during the latter's stay in prison.
Picture
Enlisting the help of two fellow students, Jay attempts a "demonstration" to reenact (and perhaps fathom) a disconcerting episode from his past. The action centers on a photo of a back-country East Texas wedding party, which Jay has hung over his desk, and the violence that erupts from the normally placid "Little David" (impersonated by one of the other students) in reaction to Jay's cruel taunts about the bumpkins shown in the picture. But this time, at the crucial moment, the person playing "Little David" balks at attacking Jay—so the third student (who has been assuming the part of "Al") steps into the role and sends Jay crashing to the floor. For a moment the demonstration becomes all too real—and when Jay offers the others their pay for taking part in it "Al" disdainfully passes his share on to "Little David." Then they go, leaving Jay to recall the chilling, even darker nature of the original event and to ponder the reverberations that still emanate from it.
Red Rover, Red Rover
The setting is a comfortable middle-class living room, probably suburban, and the time is early morning. Three couples, after a pleasant party, are preparing to leave for their homes, but the host suggests that, because of the hour, they all stay over. Uneasy at first, the other couples agree, and while their intention is to go to their separate rooms the inevitable complications result. Before long there is a mix-up of partners which reveals not only latent desires but also frustrations, enmities and dissatisfactions heretofore unspoken. In the end it appears that none of them will ever be, or feel, quite the same again, and that their marriages may now be in jeopardy. But, in the surprising conclusion, a quite different situation develops as the three couples decide to go on living as a group—hoping to find in a communal arrangement the excitement and fulfillment which have eluded them in their separate relationships.
Who's Happy Now?
The setting is an East Texas small-town bar, and the action covers three periods in the main character's life, at six, sixteen and twenty. He and his resilient, but resigned, mother frequent the bar so that the boy may at least get to know his father—who comes there every day with his girlfriend, a waitress named Faye Precious. As the years pass a sort of whimsical accommodation is achieved between these very different people, and the boy grows up divided between avenging his mother for the father's disloyalty and getting back at him for his own hurts, while still trying to win the paternal love and approval he so desperately wants. The son's talent for song writing eventually gives him the means to get away—but when he asks his mother to join him she refuses. Once before she had tried to leave, but couldn't, and she has learned that it is better to shed her pride and keep even a share in the man she loves than to stand on this and have nothing.

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Biografie Oliver Hailey 

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Oliver Hailey

Oliver Hailey s-a nascut la data de 7 iulie 1932 in Pampa, Texas, SUA.


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