“We as a culture have become fixated on facts and data while becoming oblivious to the much-at-once and the More that contains our Possibility. As a result, many of us feel empty, have become bored, unbalanced, have wondered until we’ve lost our place and the pulse and music of being.”

–Bruce Wilshire, The Much-at-Once

Dedication

Jeffrey Edelman & Bruce Wilshire

———————————-

 CHARACTERS

NARRATOR – male, forties, refined.

JOE – thirty-five, writer/director. It’s his idea to do “Don Juan in Hell – the Musical” in hopes of saving his parents theater. He wants to do something meaningful and grand. He is bright, thoughtful, creative, but he has a history of “visions”.  He is George and Bella’s son.

FRIEDA – mid-thirties, wary, wise.; she is Joe’s love interest. She loves Joe but is uncertain about a future with him.

GEORGE – sixties, Joe’s father. A writer of books. In a playful tug-of-war with his best friend and editor (who he calls Devil). Along with his wife, Bella, he owns a struggling professional theater.

BELLA – sixties, Joe’s mother. Speaks her mind. Very concerned about the financial viability of the theater. Like George, she loves Joe.

DEVIL – sixties but looks younger. Wise. He is George’s best friend; also, his editor. He is called Devil, and he often plays along, assuming the role.  

 The following are the actors who enact “Don Juan in Hell – the Musical”. All four actors are bright, capable, interested primarily in doing a good job for Joe. All are pleased to be working on a play they feel has depth, a change from the more light-hearted fare to which they typically apply their talents. NOTE: “Don Juan in Hell – the Musical” takes place in Hell.

REGGIE – thirties/forties or older, plays the part of Don Juan. Don Juan is sharp, ready to engage but also gracious, refined.

LEON – thirties/forties or older, plays the part of the Commander. The Commander is a bit gruff, a military man. He is full of himself but earnest. Wants to understand what is being argued. He is Dona Ana’s father.

ALICE – thirties/forties or older, plays the part of Dona Ana. Dona Ana is a former love of Don Juan’s and is, as well, the daughter of the Commander. She is smart, nobody’s fool, skeptical but open.

TED – thirties/forties or older, plays the part of the Devil. The Devil is smart, world-weary, not about to fall for Don Juan’s formulations. At the same time, he is a gentleman.

NOTE: There are two characters referred to as the Devil, George’s editor, and the Devil within “Don Juan in Hell – the Musical”.

EXTRAS: a nightclub singer (sings one song); a few dancers for the nightclub scene; and critically, a dancer who appears briefly in scenes throughout the play. She is the metaphor or representative image for the key theme of the play.

SETTINGS

Several settings: George and Bella’s home, a nightclub, theater stage, street, park, café.

 MUSIC

Timetable included sixteen songs by composer Jeffrey Edelman. Songs and lyrics not included here.

———————————-

OPENING

NARRATOR

(NARRATOR walks to the center of the stage)

Good evening, ladies and gentlemen… and welcome.

Tonight, we offer you a play for the pleasure of your imagination. We hope to entertain you. We want that most of all. But we also hope to move you to feeling and to thought. The question at the heart of our play: Why aren’t we more often in awe of our situation…infused with the wonder of simply being alive?

(Light comes on GEORGE and BELLA when NARRATOR mentions their names and stays on as he introduces them. GEORGE, BELLA stand expressionless.)

Meet George and Bella. Married for forty-four years, George and Bella worry that the community theater to which they have devoted their lives will have to close its doors. They need a production that will rescue it… something to bring in the public.

            (Light comes on JOE.)

Meet their son, Joe. Joe selects and directs the plays. He is a gifted director, but he suffers from spells of withdrawal, flights of fancy, depression… What to call it? George and Bella are counting on Joe.

(Light goes out on GEORGE, BELLA, and JOE.)

ACT ONE

Scene 1

 SETTING:         GEORGE and BELLA’S living room.

AT RISE:           GEORGE sits in his easy chair.

JOE enters the room.

GEORGE

(happy to see him)

Oh, Joe, it’s you.

JOE

(upbeat)

Hi, Pops.

GEORGE

(welcoming)

Come in, come in.

(GEORGE climbs out of his easy chair, opens his arms, the two men embrace.)

JOE

Mom said you haven’t been yourself…

GEORGE

Six do-nuts this morning, son. What’s that tell you?

JOE

All is not well, Pops.

GEORGE

I’m fine…as well as the next guy.

JOE

Well then?

GEORGE

It’s been days.

 (Stage lights dim as light comes up on female dancer, beautifully adorned; back of center stage; her several veils catch the light as she spins. Beautiful. Hypnotic. JOE and GEORGE observe the dancer, transfixed, expressionless. When dancer sequence ends [it is brief], stage lights return. JOE and GEORGE notice that each has noticed the dancer and then both return to the play.)

 BELLA enters the room having overheard the conversation. BELLA did not see dancer.

 BELLA

(good natured)

What’s he complaining about?

GEORGE

You know what I’m complaining about.

BELLA

(matter of fact, redirecting GEORGE)

I love you, George.

GEORGE

(warm but matter of fact)

I love you, too.

JOE

Come on, Pops. We’re getting you out of here.

BELLA

You’ve been cooped up for a week. Your editor is joining us.

GEORGE

(surprise)

What?

BELLA

You heard me.

GEORGE

That man is the Devil!

BELLA

He’s your best friend.

GEORGE

The man’s a literalist.

JOE

He’s a part of our family. No?

GEORGE

He lacks poetry, son. Unless it’s right in front of him, he can’t see it!

BELLA

(slight impatience)

Oh, come now…

GEORGE

The beatific, my dear. He can’t see it.

JOE

He’s the Devil. Right, Pops?

GEORGE

Without a doubt.

BELLA

Are we ready?

JOE

(handing GEORGE’S jacket to BELLA)

Pops, your jacket…

BELLA

(good natured, slight exasperation)

He’s your editor, for goodness’ sake…

JOE

(JOE is exiting as he delivers line)

I’ll save us a table…

 GEORGE

See you there, son.

 (GEORGE and BELLA are left alone.)

BELLA

(helping GEORGE on with his jacket)

Where’s your faith?

GEORGE

The theater hasn’t broken even in a year.

BELLA

Joe will make things work out.  

GEORGE

Joe is not well.

BELLA

He’s perfectly well.

GEORGE

He got misunderstood. Interrupted. 

BELLA

It’s been months, close to two years.

GEORGE

It preys on me.

BELLA

Your perspective, George…

GEORGE

He’s beautiful, too. Don’t get me wrong.

BELLA

Joe is better than ever.

GEORGE

Remember how he used to say we couldn’t understand him?

BELLA

We gave him a life in the theater. What more could we have done? The theater is soul-forming. Isn’t that what you say?

GEORGE

Not sure I ever believed that.

BELLA

(pleading)

George, can we enjoy the evening?

GEORGE

(a touch of tenderness)

Now that is a lovely thought.

BELLA

And please, don’t get into it with…

GEORGE

(interrupting)

… the Devil!

BELLA

…with our dear old friend.  

GEORGE

The man is wily. I need you on my side.

BELLA

You act like you’re in a play. You’re never real with one another.

GEORGE

Real? Real!

BELLA

(exasperated, departing)

An evening without philosophy… that would be nice.  

GEORGE

(playfully serious, earnest with a wink, GEORGE’S arm around BELLA. BELLA’S amused sigh of acceptance)

Unthinkable, my dear.

BELLA

It’s like you’re not happy.

GEORGE

(arm around BELLA as they depart)

Don’t be silly. Come. Mustn’t keep the Devil waiting.

(BLACKOUT)

(END OF SCENE)

———————————-

Scene 2

SETTING:         Nightclub

AT RISE:           GEORGE, BELLA, DEVIL, and JOE are seated at a table listening to the NIGHTCLUB SINGER.

NIGHTCLUB SINGER

Performs song that involves a great deal of scat singing. Performer is carried away by scat singing, seems to lose her way but then recovers and finishes the song. Two to three couples dance until scat singing at which point, they stop to observe singer with some puzzlement and then continue dancing when song picks up again.  

Applause by people and dancers in the club. Dancers return to their tables.

JOE

 (JOE addresses GEORGE, BELLA, and DEVIL, all seated at their table)

There. That lyric. The scat singing. That’s the way I think it is.

BELLA

The way it is?

JOE

You go along. And suddenly, you’re lost. You don’t know where you are.

GEORGE

But then you find your way back, right son?

DEVIL

Or maybe you can’t find your way back.

GEORGE

Ah, yes, that’s what you count on. Am I right, old friend?

BELLA

(shushing)

George!

(to DEVIL)

Doesn’t that annoy you?

DEVIL

I hardly notice.

(to GEORGE)

Book sales, old boy?

GEORGE

(slight irritation)

What have you got against the soul?

DEVIL

First things first, old friend… As your editor, I have a professional duty… to protect you from yourself. Is there anything you value more?

GEORGE

Tell me, Devil-man, why have my books never sold? You think it’s me, don’t you?

DEVIL

(matter of fact)

No. I have never thought it was you.

GEORGE

(musing, then assertive as he gets the onus off himself)

Of course, it could be you! 

DEVIL

I am your best friend. Have you forgotten?

GEORGE

Shall we have another round, old friend?

DEVIL

Yes. Indeed! Waiter! Another round!

DEVIL and GEORGE signal the need for another round. They then turn their attention to BELLA and JOE. FRIEDA, sitting with friends at the table on the other side of the stage, stands and waves to JOE.

BELLA

(BELLA notices FRIEDA)

Joe, who is that woman waving to you?

JOE

Someone I want you to meet. A friend.

BELLA

Aren’t you going to introduce us?

JOE

I will. I mean, I want to. Excuse me for a moment.

JOE goes over to FRIEDA… walks her to the door. They kiss. Hold each other and kiss again. FRIEDA departs. JOE watches FRIEDA depart.

BELLA

George. They kissed!

GEORGE

(wistful)

I miss kissing. The lost art of kissing!

BELLA

Stop it! We kiss. You sound like an old man!

GEORGE

Eros. Right, Devil-man?

DEVIL

Right you are, my friend.

GEORGE, feeling the effects of his second round, sings acapella: “Kissing is Very Important”. People at adjoining tables notice, laugh, and with GEORGE sing: “Kissing is very important”. GEORGE rises and improvises a dance with more grace than might be expected while he sings a bluesy song about the importance of kissing.  

Applause and laughter from those in the club. GEORGE, pleased with himself, sits down.

JOE returns to the table but does not sit.

BELLA

(to JOE, inquiring)

Just a friend?

JOE

Maybe more. I hope so. Her name is Frieda.

GEORGE

Lovely, son.

JOE

I’m sorry I couldn’t introduce you. Anyway, I have to run. Pops, maybe I’ll see you tomorrow?

GEORGE

Definitely, son. Tomorrow.

JOE exits.

GEORGE

(to BELLA and DEVIL, wistful)

The attraction between two people. Ah, the mystery of it!

DEVIL

It happens when your God wills it. There is nothing to be done. You must follow it!

GEORGE

There. The mask is off!

DEVIL

(continuing to play his role)

 He breathes into you the longing for another.

BELLA

And thank goodness he does, gentlemen.

GEORGE

I’m with you on that, my dear.

(raising his glass)

To the fine art of kissing!

BELLA

(raised glass)

To the sweetness of life, George!

DEVIL

(raised glass)

Yes, and to book sales!

BELLA

(raised glass)

To life-long friends!

 Light fades on toast tableau. Light comes on DANCER at back center of stage. Very brief appearance, touch of beauty.

(BACKOUT)

(END OF SCENE)

———————————- 

Scene 3

SETTING:         Next day. GEORGE and BELLA’S theater, where JOE is the director.

AT RISE:           Rehearsal of new play is underway.

GEORGE and DEVIL enter the theater and are greeted by JOE. JOE’S friend, FRIEDA, is present. Actors in background reading and memorizing scripts.

GEORGE

Joe, my boy. Tell me, what have you in store for us?

JOE

Our next play… I thought you might like to see how it’s coming along.

GEORGE

Yes, of course.

(to FRIEDA)

I’m George, Joe’s father.

FRIEDA

Yes, I know. I’m Frieda. So good to meet you. I’m sorry I couldn’t meet you and your wife last night.

GEORGE

No problem at all. I don’t believe you’ve met my friend, the Devil.

DEVIL

(warmly to FRIEDA)

I’m his editor. He’s very sensitive.

FRIEDA

Very nice to meet you.

GEORGE

Joe, what is this play? Four actors… musicians…

JOE

It’s Don Juan in Hell, Pops.

GEORGE

(not sure he heard it correctly)

It’s what?

JOE

We’re making it a musical. The actors are excited about it. The musicians. My friend’s music…

DEVIL

(playfully)

Don Juan in Hell. How I loved that play!

GEORGE

(to FRIEDA)

Do you know the play, Frieda?

FRIEDA

No, I don’t. Joe tells me I will love it.

GEORGE

As GEORGE explains the play, the actors, standing in the background holding scripts, bow or otherwise acknowledge their part in the play.

Don Juan, (REGGIE bows indicating that he is playing DON JUAN), a former love of Don Juan’s (ALICE gestures, smiles, and says: “The beautiful DONA ANA”), the former love’s father (LEON salutes and says: “I prefer to be called, COMMANDER”), and my friend here, the Devil (as GEORGE puts his arm around his editor, TED bows, and says: “At your service”)… they all meet in Hell. There they discuss… well, you could say they discuss nearly everything. It’s quite the play.

FRIEDA

It sounds wonderful!

GEORGE

It is wonderful. The original… I’m just not sure…

JOE

(interrupting, sensing concern)

We’re re-writing much of it. We pretty much have to… With the music, there’s a lot we’re fitting together.

GEORGE

Yes. But Don Juan in Hell… A musical? We’re in the red, son.

JOE

(interrupting)

The music makes it work, Pops. You’ll see. The songs, the lyrics, all the necessary themes.

DEVIL

(playfully)

Like sex, Joe? I trust there’s plenty of sex in the play.

JOE

Well, no,… I’m sorry, no sex.

DEVIL

(matter of fact)

Never hurts to add it.

GEORGE

(redirecting the discussion, GEORGE addresses JOE; when GEORGE mentions Don Juan, a light briefly comes on REGGIE/Don Juan)

Joe, Don Juan makes a rather crucial decision in the play, does he not?

JOE

(slight hesitation)

Well, yes… ah… He chooses allegiance to the Life Force, I know… it sounds… but you don’t have to worry…

GEORGE

(interrupting)

Joe, is everything okay?

JOE

(a little defensive, recovering)

There are other themes, not just the Life Force thing.

FRIEDA

Like love, Joe? Maybe not my place to ask, but is that one of the themes?  

GEORGE

Yes, Joe, that… Or, the struggle to find your footing in this crazy world. Give it a comic twist. Actors tripping over themselves. (GEORGE enacts a stumble.)

DEVIL

(playfully)

Or the struggle to right the world? I’m not for it, mind you.

JOE

Yes, all of that… it’s all there. I think…

GEORGE

(earnest, slight concern)

But Joe, a musical?

JOE

I understand, Pops. We’re on to something. You’ll see.

GEORGE and DEVIL prepare to leave.

GEORGE

Only a father’s concern, son. Financially, the theater is… well, you know…

(to DEVIL)

Shall we?

DEVIL

(playfully)

Joe, if I need help spicing it up…

GEORGE

Frieda, lovely to meet you. We’ll see you again soon, I hope.

FRIEDA

I hope so, as well. Good to meet you both.

GEORGE and DEVIL depart. The actors, holding scripts, continue in the background to rehearse. JOE and FRIEDA are alone, front of stage.

 FRIEDA

(turning to JOE)

Love, Joe. Why write about anything less?

JOE

It’s at the heart of the play, Frieda. I see it now… not at first, but yes, it’s there.

FRIEDA

(reticent)

Joe…

JOE

I’m glad you said something. It gave me another way of seeing it

FRIEDA

(reticent, serious tone, the real topic)

We have to slow down.

JOE

Slow down?

FRIEDA

I love you, Joe; but the enchantment will end.

JOE

The enchantment? I like who I am when I’m with you….who we are. This is our beginning!

FRIEDA

You’ve sunk everything into the play, Joe. Everyone is proceeding on faith. There is love between us. Respect. I admire what you’re doing. But we’re under the spell. I know that doesn’t happen often, but life has made me wary.

 JOE

More time, Frieda. That’s all. Things arrange themselves around what we have. I don’t know how it works but I know that it does….

FRIEDA

That’s mysticism, Joe.

JOE

So be it, then. You and me. More time. That’s all.

JOE and FRIEDA embrace warmly, reassuringly. JOE walks back toward the ACTORS. FRIEDA turns to leave. As she leaves, she notices a microphone at one side of the stage. She steps to the microphone and sings a song about love and the fear of moving forward. JOE walks to the microphone on the other side of the stage and joins in the singing of the song.

Light fades.

(BLACKOUT)

(END OF SCENE)

———————————-  

Scene 4

SETTING:         Sidewalk leading home

AT RISE:           GEORGE and DEVIL walk along the sidewalk back to GEORGE and BELLA’S home.

GEORGE and DEVIL are engaged in their playful, sometimes slightly contentious back and forth.

GEORGE

I’m proud of my son.

DEVIL

As well you should be.

GEORGE

He has a gift, his own unique gift.

DEVIL

Yes, sir, he does.

GEORGE

He’ll make something of this play.

DEVIL

Something grand.

GEORGE

Why are you agreeing with me?

DEVIL

To keep the peace. A man of your age is easily provoked.

GEORGE

We are the same age.

DEVIL

(playful)

I am timeless.

GEORGE

(serious tone)

I’m worried, old friend. This play is a risk… Joe is investing everything.

DEVIL

And why does that surprise you?

GEORGE

His withdrawal or depression or flight of fancy…I don’t know what to call it… it’s been crippling.

DEVIL

Yes, but the play holds promise.

GEORGE

Delusion, I fear.

DEVIL

You disappoint me, my friend. Is this because your books never sold?

GEORGE

That is hardly the point. And they did sell…to the right people.

DEVIL

You wanted to change the world. Admirable, yes. It’s just that the world proved indifferent to you. And now, you worry about your son’s flight of fancy! Who, if I may ask, is more deluded?

GEORGE

(returning to his concern for JOE)

Enough suffering! And enough delusion! Wake up! There comes a time…

DEVIL

Oh, my… Wake up, you say!

GEORGE

From the trance, the collective dream. Why not? You are a difficult person. You know that, right?

DEVIL

There is only the collective dream, old man. We are within it now. And though your life’s work made barely a ripple, the collective dream has been good to you. You can thank me for that.

GEORGE

(matter of fact)

The point is that Joe has suffered enough. The play is far too weighty. And now, a musical!

DEVIL

(interrupting)

Joe will be fine. Or he won’t be fine. Either way, you sadden me. Joe reaches upward and you say: “Too high!” What kind of a father are you?

GEORGE

His past, Devil-man.

DEVIL

His past be damned. And your view of his past be damned, as well He will let the past be past or he will continue to live in it. Just like the rest of us.

GEORGE

Just like the rest of us? I thought you were timeless.

DEVIL

Just like the rest of us.

GEORGE

(slight pause… resentful)

I sadden you?    

DEVIL

Your son wants to know that he is an artist. If he were to settle for less than that, he would not be your son.

GEORGE

I am frightened for him.

DEVIL

For him or for you?

GEORGE

Both.

DEVIL

(Devil puts arm around George and speaks warmly)

You have had your say, old friend.

DEVIL affectionally nudges GEORGE with his elbow and then initiates a simple dance step. Pauses. Looks at GEORGE. GEORGE copies DEVIL’S step. Back and forth they go—two men in their sixties. Nimble. Soon, they are moving in a Motown/Four Tops dance sequence. They sing about a dark and indifferent world… and yet, there is comedy in the lyrics. Actors [from JOE’S play] show up to provide additional voices. Choreography continues to evolve. 

(BLACKOUT)

(END OF SCENE)

———————————-   

Scene 5

SETTING:         GEORGE and BELLA’S home – kitchen.

AT RISE:           GEORGE and DEVIL enter front door and walk to kitchen.

 BELLA greets GEORGE and DEVIL. They take a seat at the kitchen table. BELLA stands.

 BELLA

(with energy)

He’s doing what?

GEORGE

Yes, ma’am.

BELLA

Does he want the theater to fail?

GEORGE

We shared our concerns… Well, I did.

BELLA

Is he okay?

GEORGE

No. Nothing like that.

BELLA

Don Juan in Hell… Half the seats will be empty!

GEORGE

Well, it’s not exactly Don Juan in Hell.

BELLA

No?

GEORGE

He’s re-writing it.  

BELLA

This is a disaster!

DEVIL

One more thing… He’s making it a musical.

BELLA

OH, MY GOD! George, you’ve got to do something!

GEORGE

He’s all in, my dear. There’s no talking him out of it.

BELLA

This is too much! This will do him in.

(to George)

This used to happen to you, you know. Rmember? It wasn’t always good. Joe needs something to ground him, a love interest… something real…

GEORGE

Well, we met Frieda.

BELLA

And?

GEORGE

Lovely. Could not be lovelier. I think he’s smitten.

BELLA

Good. Invite her over. I want to meet her.

GEORGE

Joe will have to do the inviting. I’m not sure he…

BELLA

(interrupting)

A MUSICAL!

Just then, JOE knocks and comes in the front door. With him is REGGIE, one of the actors. REGGIE is well acquainted with GEORGE, BELLA, and DEVIL.

 JOE

Hello, hello…It’s me and Reggie.

BELLA

Hi Reggie. Welcome.

REGGIE

Hi… Hope you don’t mind…

BELLA

No, of course not. We were just discussing the play. How are the rehearsals going?

REGGIE

Great. We’re making it up as we go. But, great.

BELLA

Making it up as you go?

JOE

(sensing concern)

Well, we’re figuring out what to do with the music, how to stage it, what instruments fit the mood, that sort of thing.

BELLA

Don Juan in Hell?

JOE

(enthused)

You raised me on it. And now…

BELLA

(interrupting)

But is it even the same Don Juan…?

JOE

Well, maybe. I think so. We’re trying to remain true to it and still make it our own.

BELLA

Remain true to it?

JOE

Longing and doubt… reaching for something higher. 

REGGIE

And the way we all waste precious time.

BELLA

(directly to JOE)

Joe, you know why we’re concerned…

JOE

Yes, of course. The theater… The play will be a success. It will be a beautiful thing.

BELLA

We’re a business, Joe. The theater is a business. We’re a part of a great big system… you know what I’m saying.

(to GEORGE)

George, tell Joe what a system is.

JOE

I know what a system is.

BELLA

We believe in you. It’s just that… even if you were to do it straight… But a re-write…and a musical!  We have family coming. Relatives!

JOE

It’s coming together. I know you’re worried. But at some point, you have to trust that you’ve been given what you need. Right?

BELLA

(to DEVIL)

Please, dear Sir… Talk to our son.

DEVIL

If you like. But there is only one question and I’m afraid you’ve all been beating around the bush.

DEVIL stands and sings about how the only question: Can your really do it? The song is playful but always returns to that question. GEORGE and BELLA join in though DEVIL has the lead. JOE and REGGIE listen.

 Light comes on dancer, back of center stage, spinning slowly, veils catching the light. Lasts only a few seconds. 

 Light out.

 (BLACKOUT)

(END OF SCENE)

———————————-    

Scene 6

SETTING:         Theater stage

AT RISE:           JOE is rehearsing Don Juan in Hell, the Musical with ACTORS.

 JOE is explaining the next scene.

JOE

Don Juan hated cults. Religious cults, political cults. For Don Juan, cult life was the end of life. Think for yourself. That’s his motto. Don Juan delivers a fierce indictment of the Devil’s cult. And, as you might imagine, the Devil takes offense.

(Joe assumes the DEVIL’S voice)

“Juan, you are uncivil to my friends!”

LEON

The song you have in mind works well here, Joe. But rehearsals have been rough… we’re not sure about the staging.

JOE

(JOE approximates the movements as he describes them)

Okay… As the song goes along… As the song goes along begin moving slowly, everyone move in your own way… and then, pick up the pace, not quite a frenzy but show some desperation. All of you, then, on the final note, form a tableau and hold it until the light fades. Doable?

ALICE

Sure. Fine…  Easy enough. Should we lead into the song with a few lines?

JOE

Ted, pick up with: Don Juan, it’s not madness…

Rehearsing begins. At this point, it is important to note that the acting style changes whenever “Don Juan in Hell — the Musical” is being rehearsed. From the naturalistic style characteristic of JOE, FRIEDA, BELLA, GEORGE, and DEVIL (editor) whenever they appear (characteristic, as well, of REGGIE, ALICE, LEON, and TED whenever they appear as themselves) to the more performative style of DON JUAN, DONA ANA, the COMMANDER, and the DEVIL. For the latter acting style, reference “Don Juan in Hell” as performed by Charles Boyer, Agnes Morehead, Charles Laughton, and Sir Cedric Hardwick. Deliberate, distinct, formal.

 The exchange that follows between the DEVIL and DON JUAN is firm but convivial. They take issue with one another, but it is not personal.

 TED/Devil

Don Juan, it’s not madness that I foster in my kingdom; but rather, a delicious form of freedom.

REGGIE/Don Juan

(disbelief)

Oh, my… freedom, you say?

TED/Devil

Indeed… for here you do and say what you please… Judging people for their foibles, their silliness, their stupidity… It’s all permitted and it’s all the rage! No obstacles here. No grand illusions. You accept your lot.

REGGIE/Don Juan

(light sarcasm)

No questioning…

TED/Devil

(interrupting)

Trust me, Heaven would exhaust you. It’s all striving. The battle with the unconscious. I’m afraid you misunderstand the options.

REGGIE/Don Juan

The options? And yet, dear Sir, you must know that a lifetime, indeed, an eternity of accepting things as they are… That is madness!

TED/Devil

A sweet, sweet madness, nonetheless, dear Juan. Nothing in mind to disturb your thoughts… The untroubled passage of time. Does that not sound ideal?

REGGIE/Don Juan

There is the striving, yes, hardship, as well… but you, dear Sir, you dislike the striving because it shrinks your kingdom. Is that not so?

TED/Devil

Tell me, Don Juan, for all the striving is there any less suffering in the world? Every advance, if you want to call it that, is followed by a collapse of equal degree. If not here, then there. My kingdom does not shrink, it expands… and expands evermore. I take pride—forgive me but I do—and a certain delight in the futility, in the way it all works. 

REGGIE/Don Juan

Shall we check the daily numbers, your Lordship? 

TED/Devil

Waste your time, if you wish, Don Juan. We have it in abundance here.

REGGIE/Don Juan

Still, I understand. Disavow the progress…  you have a role to play. Still, the striving continues. I see beauty in it. And I, for one, old friend, cannot remain in your kingdom and live with myself.

TED/Devil

Then climb upward, Don Juan. Off to Heaven you go. Disillusionment will follow and, in time, you will make your way back to me. And I, gentleman that I am, will welcome you with open arms. I cannot save your soul, for what is there to save? But the music we can make together… Sublime! Shall we stop our quarreling and get on to what we do best?

REGGIE/Don Juan

Indeed, Sir, and with pleasure. I hoped we might.

TED/Devil

Always, dear friend.

REGGIE/Don Juan

I trust you take no offense at our exchanges. I would never suggest that you are anything but excellent company.

TED/Devil

None taken. Not a better way to pass eternity than to joust with you. Please, I take your lead…

The DEVIL and DON JUAN, assisted by ACTORS sing a song about the dangers of cult existence… The ACTORS—including DON JUAN and the DEVIL—improvise the choreography. They weave in and out, picking up the pace, dancing alone, dancing in pairs, then as a group. Singing is rapturous though movements suggest that singers/dancers are losing their grip. Tableau is formed as the music ends.

Light fades on tableau.

(BLACKOUT)

(END OF SCENE)

———————————-   

NARRATOR

(NARRATOR steps to the side of the stage and addresses the audience)

 For years, George and Bella have had the same conversation. And now, again. What is wrong with Joe? What is the problem? The tell-tale signs are back. 

Spot lighting comes on George and Bella sitting at their kitchen table.

BELLA

It’s been two years. Everything has been fine.

GEORGE

It’s inevitable. You know it’s inevitable.

BELLA

(exasperated)

Please. Not that again.

GEORGE

Joe does not know where he lives.

BELLA

That’s ridiculous! Of course he does.

GEORGE

And no one can figure it out for him.

BELLA

We can tell him! How about that? Tell him where he lives.

GEORGE

It doesn’t work that way.

BELLA

Medication. That’s what I say. Nothing mystical.

GEORGE

It’s not like that.

Spot lighting on GEORGE and BELLA fades out. Light comes back on NARRATOR who sets the next scene.

NARRATOR

Joe arrives at George and Bella’s, full of energy. He has had a breakthrough, or so he believes.

———————————-  

Scene 7

SETTING:         GEORGE and BELLA’S living room

AT RISE:           GEORGE, BELLA, and DEVIL in conversation.

JOE shows up and interrupts the conversation. JOE has a touch of “hurry” in his voice—is that the right word? –trying to convince himself as he tries to convince others that he’s had a breakthrough. He’s pressing slightly; it’s not exaggerated, but it can be sensed.

JOE

I’ve had a revelation! Yes, that’s the word for it. It’s about the play…what the play is about.

GEORGE

(surprised)

I thought you had it written.

JOE

No, the play at a deeper level.

BELLA

Isn’t it deep enough? We’ve been wondering if…

JOE

(interrupting)

That’s the breakthrough. Certain things are clear to me now. It’s been a gift, really. A relief.

GEORGE

Certain things are clear to you?

JOE

I should have said one thing is clear to me. The light came on…

BELLA

(wanting to be supportive)

Sounds important, Joe.

JOE

Who I am became clear to me.

GEORGE

(concerned)

Who you are? You already know who you are, Joe. I don’t think…

JOE

(interrupting)

Sounds funny to say out loud, but I am Don Juan! Yes. Indeed: Don Juan.

BELLA and GEORGE

(BELLA and GEORGE overlap one another, some mix of the following)

Uh, Joe… What?… No, Joe, I don’t think… Son, this doesn’t sound… Don Juan is not…

BELLA

(interrupting, gathering herself)

Your revelation… it told you that you are Don Juan?

JOE

Not Don Juan literally. I’m not crazy. Pops, what do you always say? Through your art you compose or create or discover yourself.

GEORGE

(concerned)

I’m not sure I believe that, son.

JOE

(interrupting, enthused)

Well, that’s what I mean.

BELLA

(earnest, concerned)

That you are Don Juan?

JOE

To be me, I am him! In a way…

DEVIL

I know what you mean, Joe!

GEORGE and BELLA look with surprise at DEVIL.

JOE

The only cautionary part of the revelation was… well, on not wasting time.

DEVIL

Yes. Well done, Joe!

Again, GEORGE and BELLA look with some surprise and disapproval at DEVIL.

GEORGE

Wasting time, Joe?

JOE

Once you glimpse who you are, or might be… you must move forward. Straight away. Right?

Slight pause… JOE interrupts the silence by getting up to leave.

BELLA

(still in thought, surprised the conversation is ending)

You’re not leaving.

JOE

I’m sorry. But the revelation… the reverie, whatever you want to call it… I couldn’t wait to tell you. I haven’t felt this sure of myself in a long time.

BELLA

(hesitant)

That’s wonderful, Joe.

GEORGE

(seeking clarity, supportive)

So, the play is on schedule, right, son?

JOE

(rushing)

Yes. Definitely. I was blocked. Not much. A bit. But this clears the way. You know… seeing things clearly.

BELLA and GEORGE

(speaking at the same time as JOE leaves, concern in their voices)

We love you, Joe. Love you, son. Glad to hear it… Be careful out there…

JOE departs – BELLA, GEORGE and DEVIL remain.

DEVIL

(to GEORGE and BELLA, direct)

Why didn’t you tell him?

GEORGE

Tell him what?

DEVIL

What you’re thinking.

GEORGE

(a bit put off)

And what, dear Sir, are we thinking?

DEVIL

That he’s gone mad.

GEORGE

Nonsense!

BELLA

(reflecting)

It seemed romantic at first… and then I felt sad, like he was lost… his claim that he is Don Juan…

DEVIL

The catharsis available through art. The heroic impulse.

GEORGE

(reflecting)

Maybe Joe is mad.

DEVIL

(speaking to a friend, empathic)

If madness, old friend, why not the holy madness.

BELLA

He might have been pressing, yes…

GEORGE

(interrupting)

Joe has forgotten how dark things got.

BELLA

It’s just that we’ve never seen him take a risk like this. Not mad. Please. It’s just that if the play fails… and now, with his so-called “revelation” — There was already enough pressure.

GEORGE

(to DEVIL, again with a degree of exasperation, defensively)

So, he’s gone mad… That’s what you think?

DEVIL

Withdrawal and sadness, yes. But madness? No. Joe has never given up. You can thank yourselves for that.

BELLA

For all I care, Joe can be Don Juan, Mister John, Johnny of the Light Brigade. It doesn’t matter. What does matter is his stability.

GEORGE

(reflecting, angry to a degree, challenging)

The holy madness… What do you know about such things?

BELLA

George! Please…

DEVIL

(empathic, direct)

I have never thought that you lost your perspective, old friend. Never. You know as well as I that no one can truly say who is the fool, and who, in their own good time, noble and divine.  

GEORGE

What are you talking about?

DEVIL

Dismiss my view, if you like. I say only that Joe is on his way, not free but not so mired, as you fear. I am an outsider, yes, but I am also your dearest friend.

Light fades out but illuminates another part of the stage where JOE stands before a microphone. He sings about catharsis, revelation, and the importance of not wasting time. ACTORS from the play within the play form the CHORUS.

Light fades. DANCER spins, light catching her veils.

(BLACKOUT)

(END OF SCENE)

———————————-  

Scene 8

SETTING:         Empty stage

AT RISE:           DEVIL (editor) at microphone

 Light comes on Devil who sings a beautiful and haunting song about the finding of one’s perfect mate and the power of the soul. Accompanied by  flutist (or violinist or saxophonist).  

Light fades

Scene opens on a pathway in the park. JOE and FREIDA happen upon one another. Two months have passed since they have seen each other. They stroll the walkway, Joe with guitar in hand.

JOE

(JOE sees FRIEDA first, surprised)

Frieda!

FRIEDA

(surprised)

Joe, it’s you.

JOE

It’s so good to see you. I’ve missed you. It’s been a while…

FRIEDA

I’ve missed you, too.

JOE

(reflecting, then curious)

Time is the oddest thing. It all ended so quickly. Did I do something…say something? The calls…

FRIEDA

(interrupting)

No, there was nothing… I was always going to get back to you. We should have talked. The days passed. It was wrong of me.

JOE

We had the enchantment… Remember?

FRIEDA

Yes. I know. I’m so sorry, Joe. Time passed… and then…

JOE

(interrupting)

There’s no point in discussing it. Not now. I knew you had reservations. You said it was the enchantment and that it would end. But it was more than that. You thought I was a problem for myself.

FRIEDA

No, Joe, I don’t want to…

JOE

(interrupting)

It’s okay. Really. I’m fine. As the heartache left, it wrote a song… that’s how it seemed. I think we’ll use it in the play.

FRIEDA

(surprise, happy to turn to another topic)

You’re still doing the play, the Don Quixote play?

JOE

Don Juan. Not Don Quixote. Don Juan. And yes. Still working on it.

FRIEDA

A song about us?

JOE

I think it can fit into the play. Don Juan meets Dona Ana, his former love, in Hell and explains how madly in love he was with her. I would not have had this song if not for you. Would you like to hear it?

JOE and FRIEDA sit on the park bench. JOE sings first line, adjust strings/tuning, clears throat, before starting over.

 First time I’ve sung this out loud…

JOE sings a love song, a song of longing, the inability to think of anyone else but the object of one’s love. 

 FRIEDA

(enthused)

I love it, Joe!

JOE

It can be a small acknowledgement of our time together. Our secret.

FRIEDA

(apologizing)

I never thought you were a problem for yourself.

JOE

(interrupting, reassuring)

I’m sure it seemed risky…

FRIEDA

Maybe the reason I thought the play was about Don Quixote and not Don Juan…

JOE

(interrupting)

Really, there’s no need…

FRIEDA

 (continuing)

Maybe the reason I thought it was about Don Quixote is because Don Quixote was such a terrible problem for himself. Sure, everyone roots for him. But his ideal cost him. He was lost in his madness. The further you got into the play the more it started to look like, you know…

JOE

(explaining, perhaps assuring/convincing himself as well as FRIEDA)

Frieda, it’s fine. I’ve got a balance I didn’t have before. I think that’s true. In any event, we are friends. Well-wishers from now on. You are Dona Ana, and we meet here.

FRIEDA

(playful)

I’m Dona Ana?

JOE

Why not see it that way? And thank goodness the Devil is not here to sow confusion. We have that over the actors in the play. They’re caught in a script already written. Well, almost written. Not us. We are fortunate souls, are we not?

BELLA

(with hesitancy and concern)

Yes, Joe… I want to say that’s so. Is everything OK? But yes, fortunate souls we are…

Light fades.

(BLACKOUT)

(END OF SCENE)

———————————-   

Scene 9

SETTING:         GEORGE and BELLA’S living room.

AT RISE:           GEORGE, BELLA, and JOE discussing the state of the play.

JOE enters the room. Increasingly in the exchange that follows, JOE is restless, uncomfortable, fidgety, doing his best to convince himself of what he is saying. There is relief that the play is done and then concern that the play is not done… and then concern for JOE as, increasingly, his uncertainty about himself comes through.

 BELLA

(concern, supportive)

Joe, we’ve never taken so much time to ready a production. After your revelation and all, well, we thought…

JOE

(interrupting)

That’s the reason I’m here. I’m happy to announce: The play is written!

GEORGE

Completely written?

JOE

Well, almost. There are always changes, right up to the end. Right?

BELLA

And we’re going to have an opening night?

JOE

Of course. Did you ever doubt it?

GEORGE

It’s been a while, Joe. We wondered if…

JOE

(interrupting)

No, no, no. It’s all fine… It’s taken longer than expected, I know…

BELLA

(interrupting)

So, now… Plans for the opening?

JOE

There are always things to work out. But, yes, a rehearsal or two, some improvising through a couple of rough spots and then, we can set a date for opening night.

BELLA

Any difficult moments we should know about?

JOE

Just the usual creative blocks. We’ve worked through them.

BELLA

But you, Joe? That’s what I mean. Everything OK?

JOE

Sure, why wouldn’t it be? I’ve been fine. Frieda and I, well, you know… Since then, my focus has been on the play. That’s all.

GEORGE

Nothing to worry about, then?

JOE

Absolutely nothing. Come to the last rehearsal. You’ll see. I think I’ve got something that will save us. Save the theater, I mean.

BELLA

If we can just break even…

JOE

(rushing a bit, overstating the possibilities)

Why not do more? Make some upgrades to the building. Pay actors what their worth!

BELLA

Just break even…then the next production… maybe something less ambitious.

JOE

(rushing, responding to what he just said as he goes)

The truth is, I’ve always dreamed about this play. Since childhood. My own version…those characters…  and now… Well, it’s done. Or nearly so. I mean we have some improvising to do.

GEORGE

(concern)

Joe, have you slept?

JOE

(speeded up)

Slept? Who can sleep when the stars have aligned? But don’t worry. The play is… Well, almost done.

BELLA

We sometimes worry, Joe, that maybe we put too much pressure on you.

JOE

(reassuring himself, self-concern)

I thought I was destined for something great. Isn’t that crazy? I want certain things in my life, sure…things that I imagined… but if less than that, like with Frieda, well…

GEORGE

(interrupting)

The world as we know it, son… it’s not always…

JOE

(interrupting, convincing himself, having his feelings)

A person is supposed to aim high, right Pops? My feet are on the ground, but I look up. Wouldn’t you say that… that I’ve always looked up. I mean, Don Juan in Hell… that’s aiming high, don’t you think?

BELLA

We love you, Joe. We’ve always been so impressed with who you are.

GEORGE

Balance. That’s what I’ve learned, son. A bit of balance.

JOE

We have a wonderful play. A few things to work out. That’s all.

Two microphones. GEORGE and BELLA step to the first microphone, JOE to the second microphone, They sing a song about discovering one’s fate, willing it, embracing it… making history as one always thought they would.

Light fades out over GEORGE and BELLA. Light comes on FRIEDA. JOE and FRIEDA look at each other from across the stage. A few seconds pass. 

Light comes on DANCER, back of center stage, spinning. As with previous appearances, she is expressionless. Dance is brief, long enough to return a sense of the magical (the Much-at-Once) to the play.

(BLACKOUT)

(END OF SCENE)

End of Act One

———————————-  

 ACT TWO

Scene 1

SETTING:         Theater stage.

AT RISE:           JOE is rehearsing with actors, going over parts, improvising…

 JOE addresses actors about upcoming scene.

JOE

(JOE is asking himself as much as the ACTORS)

Everyone should have their own point of view, don’t you think? That’s how it was in the original play.

TED

(lighthearted)

We’re with you, Mr. Director.

JOE

And once in Hell, as you know, the characters could choose whatever age they wanted to be.

ALICE

(surprised)

They could what?

JOE

Choose whatever age they wanted to be. And change their age… Didn’t you read the play?

TED

Change their age whenever they wished?

LEON

(playful, laughing)

Not to confuse things, Joe, but that sounds like Heaven to me!

ALICE

OK, apologies… So, what age did they choose?

JOE

(mildly irritated)

Well… they chose late twenties, mid-thirties. It jumped around, …very much a matter of fashion.

TED

Why not 10? I loved being ten.

REGGIE

(playful memories)

Or 11? Or 12? Incredible ages. Care-free. You had laughing fits with your friends. Those were the days.

TED

(playful, teasing, arm around JOE’S shoulders)

Joe, tell us: When was the last time you had one of those laughing fits with a friend? I mean, falling all over yourself with laughter?

JOE

A laughing fit?

TED

A giggling fit.

JOE

(taking the question far more seriously than it was intended)

Well, I don’t know… I worry about that kind of thing… I

TED

Just kidding, Joe. No reason to…

JOE

I mean, I’m HERE! In this PLACE! Why aren’t I on the verge of laughing? I ask myself that king of thing.

TED

(stepping back but also continuing warmly)

Oh, no, no, no… Joe, I was only teasing.

LEON

(touch of concern, nudging TED)

I mean, just the other day…

TED

Yes, just the other day…

LEON

What’s old Joe laughing about? We heard you.

REGGIE

(playful, warm, friendly, supportive)

Remember, we peeked in the door and there you were. Not moving. Just looking out the window…

JOE

The other day?

REGGIE

You were looking at that big old harvest moon… And you laughing. Laughing. Tears rolling down your face. Leon thought something was wrong. But not me. Not on your life. I knew you were ten years old again. A beautiful sight it was.

REGGIE’S arm is around JOE. JOE has a tear in his eye. REGGIE and LEON are concerned that they may have taken the teasing too far.

 JOE

Maybe something is missing.

 LEON

Joe, we were only teasing… just playing around.

JOE

(recovering, calling for focus)

And so, yes, where were we? The improvisation.

REGGIE

Only teasing…

LEON

(re-focused)

So, yes, if given a choice, I would be ten years old.

TED

Absolutely. The play is so heavy. Why not some silliness?

(TED briefly does a Charlie Chaplin Walk hoping to keep the mood light)

JOE

I’m not sure that age will work. I don’t see…

ALICE

(interrupting)

Why not? The Devil explains the rules: You can be any age you want. Right? Dona Ana, Don Juan, and the Commander discuss the possibilities and announce that they will be 10 or 11 or 12.

Playfully, the actors begin to improvise…

TED/DEVIL

We’ve never had anyone choose to be so young.

LEON/COMMANDER

Dear Sir, we did not make the rules.

TED/DEVIL

I can’t allow it. No, I can’t allow it!

ALICE/DONA ANA

And why not, if I may ask?

LEON/COMMANDER

Indeed, why not?

REGGIE/DON JUAN

Hardly seems fair to change the rules, or is it the Devil’s prerogative to spoil the fun?

TED/DEVIL

(amused at what he is about to say, chuckling as he says it)

I cannot allow it… Because… dear friends, Hell is no place for children!

 Actors chuckle and continue with the improvisation.

 ALICE/DONA ANA

(to DEVIL)

But we are not children. We are adults caught in this darkness. And now you say we cannot choose the age that offers us refuge?

REGGIE/DON JUAN

(to DEVIL)

You, Sir, are timeless. You have no notion of what childhood offers. Our childhood will not harm your realm, but it will make it tolerable for us. “Hell is no place for children.” Yes, of course. But here, in your realm: What does it matter if for an eon we are children? Our dialogue with you goes nowhere no matter our age.

 JOE

(interrupting the improvisation)

Wait a minute. Nowhere? You didn’t read the original play, did you?

ALICE

We’re improvising, Joe. That’s the plan, right? What are we missing?

JOE

You’re missing what underlies our play… Choice is available. The dialogue with the Devil is not to nowhere. If you would have read the original, you would know that you could leave Hell any time you wished.

 ACTORS look at one another.

REGGIE

(to JOE, with degree of surprise)

They can leave any time they wish?

LEON

Goodness! That changes quite a lot!

JOE

That’s the choice! The dialogue with the Devil is critical to deciding if you want to stay.

ALICE

But why would anyone want to stay?

REGGIE

You must admit, the age thing sounds pretty good.

LEON

I was looking forward to that. Some light-heartedness.

(LEON, a few more Charlie Chaplin steps.)

JOE

(degree of resignation in voice)

All right. Fine. You’re all ten years old. Have at it. Improvise. See where it goes. Dona Ana announces that they will be children and to their surprise, the Devil ceases to object.

(Improvisation continues.)

COMMANDER

(to Devil with surprise)

What? You are giving up your resistance?

DEVIL

The rules are the rules, Commander, as you suggest. Be children. When you tire of what I consider your ill-advised choice, I’m here to offer guidance.

JOE

(JOE breaks in)

Now set off as children to explore the Devil’s realm… laughing, observing the arrival of new souls, marveling at their numbers: their shape, size, color, dress.

Improvisation continues. Actors look out into the audience where they see the variety about which JOE speaks. Throughout the exchange that follows, actors look at the audience, moving about the stage, scanning, pointing but never at any one person, not locking eyes, but the audience feels itself involved and seen.

COMMANDER

Even as I traveled the world… I never knew we came in so many shapes and sizes…

DONA ANA

And why are so many here! They had a choice, right?

COMMANDER

It’s got to be the age thing… the chance to be young again!

DON JUAN

Heaven must be very strange.

DONA ANA

I have an idea.

(turning toward DON JUAN and the COMMANDER)

Why not put on a play?

DON JUAN

A play?

COMMANDER

(gesturing to the audience)

A play for the newcomers! Ease their transition.

DON JUAN

They’re probably exhausted.

COMMANDER

I was. ABSOLUTELY EXHAUSTED! Thought I’d never get here.

DONA ANA

And then, once here…

DON JUAN

…the adjustment! MY LORD!

COMMANDER

And the lighting!

DON JUAN

You can barely see a thing.

DONA ANA

A play, then…

COMMANDER

Yes. Wonderful idea!

DON JUAN

Do we tell them about the limitations?

DONA ANA

Mercy no! On their first day!

DON JUAN

A play then…

DONA ANA

Most definitely, a play.

Actors (REGGIE, LEON, ALICE, TED), in their roles as DON JUAN, the COMMANDER, DONA ANA, and the DEVIL sing a playful song about childhood, laughter, and wonder.

(slight pause, DONNA ANA turning to JOE at end of song)

How about that, Joe? Does that work?

(BLACKOUT)

(END OF SCENE)

———————————-  

Scene 2

SETTING:         Theater stage.

AT RISE:           JOE seated in a chair facing the audience. FRIEDA, GEORGE, BELLA, and DEVIL (editor) are standing behind JOE in a semi-circle.

FRIEDA, GEORGE, BELLA, and DEVIL speak sometimes to JOE, sometimes to one another. All are concerned, urgently so as the scene develops. JOE hears them but speaks to the AUDIENCE. ACTORS and JOE are on different wavelengths.

FRIEDA

What is it, Joe?

GEORGE

You’re letting this get to you, son.

BELLA

It was an inspired idea… Don Juan in Hell – the Musical… It was just too ambitious for a small theater like ours.

DEVIL

They’re too close to you to see it, Joe. Tell them.

BELLA

Tell us what?

FRIEDA

Was it us, Joe? What happened with us…the way it ended?

JOE

(to AUDIENCE, matter of fact, earnest, vulnerable, chuckling at times. JOE speaks his truth / his dilemma to the audience)

You saw this coming, didn’t you? Perhaps it was obvious. The play isn’t done. And what is done is not what I imagined. Put yourselves in my position. You get an idea. It’s a good idea. You think it might even be divinely sent. So, you act on it. Commit yourself to it. And then… what you feared. It’s beyond you. Completely beyond you! So, what do you do? “That’s life!” you say. I know you’re only trying to help. “Walk it off!” “Get back in the game!” Sound advice. Yes.

ACTORS pause for a moment before continuing. They look at one another as they take in JOE’S statement.

BELLA

The right medication works wonders.

DEVIL

This is not a medical matter.

BELLA

No?

DEVIL

No. It is spiritual in nature, ancient, holy.

GEORGE

What do you know about such things…

DEVIL

Have you forgotten who I am?

GEORGE

Joe has forgotten where he lives. That’s all.

DEVIL

That is what I said.

GEORGE

That is what you said?

DEVIL

That is what I said.

BELLA

Please. Both of you, stop!

JOE

(to AUDIENCE, matter of fact, earnest, self-reflective; in a sense, JOE is discovering what he has to say as he says it)

Spiritual? How could it not be? The feeling that things are not going to work out… You still have a reverence for life. That doesn’t go away. It may even intensify. But the point of it all is gone. Everyone and everything you love… Where is a Holy Man when you need him? Or maybe the love of your life. Someone who knows that it’s just a troubled dream. Nothing more. Though, who can be sure?

Again, ACTORS pause before continuing. They look at one another briefly.

BELLA

(continuing to look at JOE, concern)

There must be something we can do.

DEVIL

We could chant. Help Joe remember what he must do.

GEORGE

(absurd)

I’m not chanting. Good Lord!

FRIEDA

(desperate)

I’ll chant. I want to chant.

BELLA

Chanting seems desperate. Medicine, I say.

GEORGE

For you, it’s always medicine.

BELLA

Don’t start. It’s chemistry.

GEORGE

What he must do… He simply must remember

FRIEDA

You really think chanting will help? Truthfully?

DEVIL

Smoothness of mind…yes.

JOE

(to AUDIENCE, matter of fact, earnest, chuckling here and there; revealing himself to himself as he speaks)

Do Holy Men even exist? I ask you that. If they did exist, I know what they would tell me. I’ve read the books. PERSIST! The suffering will not end… No Holy Man worth his salt would suggest such a thing. The suffering will not end but it will take its proper place, leaving room for what? For enlightenment of some sort that may or may not come? Maybe I am mad. I said I was Don Juan? What was I thinking? I’m not whining. It happens to everyone. A misstep. It’s just that I do it so publicly.

Pause. ACTORS look at one another before continuing.

DEVIL

Joe remembers what he must do, or he does not. There is nothing any of us can do.

BELLA

(interrupting)

You’re saying he must suffer. Nonsense! There is medicine.

DEVIL

There is no medicine for this.

BELLA

(indignant)

How would you know?

DEVIL

I know about such matters.

GEORGE

Matters of the spirit?

DEVIL

I should have said this to you long ago: You, Sir, are a poet.

BELLA

And Joe?

DEVIL

It is Joe’s turn. He must remember, as must we all… just as my poet friend suggests.

BELLA

Why so dramatic? This isn’t Shakespeare. Pain medication. Keep it simple.

FRIEDA

I think it could be what happened between us.

JOE

(to AUDIENCE, matter of fact, self-reflective, resolute)

I will finish the play. I crave something that the play cannot provide. I realize that now but I will persist. As for what I crave, give it whatever name you like. The Beautiful Place—I’ve heard it called that… Pops calls it that. I can finish the play. I can make it say what I would have it say. But not today. I’m in no condition. But tomorrow… Yes. Tomorrow.

Again, slight pause.

FRIEDA

I’ve never chanted… I’ll do my best. Maybe I could help with the play. I love Don Quixote.

BELLA

Don Juan.

GEORGE

(earnest, serious, deadpan)

Son, as a man of letters, well, it’s difficult for me to chant. It’s hard to explain.

DEVIL

The chant… I’m not sure it’s a chant.

DEVIL [editor] sings a cappella what amounts almost to a poem… a simple but lovely tune that quiets the moment.

JOE sings a song that expresses spiritual exhaustion, but also his commitment to “tomorrow”, and the finishing of the play.  FRIEDA sings certain lines with JOE toward end of song.            

In silence, the DANCER appears, standing erect, expressionless, one hand up, a dancer’s pose. She spins. JOE and FRIEDA look at DANCER. Light on DANCER is brief.   

(BLACKOUT)

(END OF SCENE)

———————————-  

Scene 3

SETTING:         GEORGE and BELLA’S home — kitchen

AT RISE:           GEORGE and BELLA sitting at kitchen table.

GEORGE and BELLA have returned from dinner, a celebration of their 45^th wedding anniversary. The exchange is initially upbeat but turns serious with slight irritation at moments enroute to thoughtfulness and warmth.

BELLA

45 years!

GEORGE

I know. It’s unbelievable!

BELLA

How did we even get here?

GEORGE

I wonder the same thing.

BELLA

(reflecting)

Are you happy, George?

GEORGE

(surprised)

Of course, I am. What kind of question is that? Do you think I would have stayed in our marriage if I weren’t?

BELLA

(matter of fact)

Yes, I do.

GEORGE

(slight pause)

OK, sure, we had stretches. We stayed together. That’s the important thing.

BELLA

(earnest)

But joy… would you say there has been joy in your life?

GEORGE

(taken back, turning the tables)

Oh, come now… You tell me: Have you been happy?

BELLA

I think I’ve been happy. I’m not even sure I know what that means.

GEORGE

(slight agitation)

This is our anniversary! Why question everything? Yes, I’m happy. No, I haven’t always been happy. Most of the time it’s had nothing to do with you. Or with us. Forty-five years, forty-seven if you count from when we met.

BELLA

Yes, I know… But what have we been doing? I don’t even know what we’ve been doing!

GEORGE

(surprised but engaged)

What have we been doing? Well, for one thing, we had a son. We raised him together. He is the best of both of us. We’ve had a circle of friends. They were with us tonight. Wishing us well and many more! My books…they weren’t possible without you.

BELLA

It just seems like it started yesterday. We rode the same city bus. Remember? We looked forward to sitting next to each other. The separations were terrible, but the reunions were magic. We were under a spell. Then we had Joe. We worried. We made money. Never enough. And our dreams? Did we fulfill our dreams? That’s what I’m asking, George. Our dreams…

GEORGE

(somewhat resigned to the discussion)

I don’t know. We may have lost track of our dreams. Or maybe we didn’t interpret them correctly. We spoke in the language of young lovers, not the language of the soul.

BELLA

But did we stop dreaming, George? That’s what I’m asking. Did you? Did I?

GEORGE

(direct, warm)

We became practical. What else was there for us to do? When we saw Joe in trouble, we scrambled to help him. But we never stopped dreaming.

BELLA

Is that what your heart tells you? 

GEORGE

Yes, that’s what it tells me.

BELLA

And the suffering, the disappointment… Was that a part of the dream?

GEORGE

(direct, warm, resolving)

You asked me what we’ve been doing. I will tell you. We’ve been making each other, sculpting each other. And when that didn’t work like we thought it might, we worked on how best to see each other, how best to see things in general. That is what we dreamed long ago… that we could do that together.

BELLA

(warmly)

Is that what you think, George?

GEORGE

That’s what I think tonight.

BELLA

Sounds good, George.

GEORGE

Forty-five years…

BELLA

I know. It’s unbelievable…

GEORGE and BELLA sing a beautiful love song, a song about how life and love take you in unexpected directions, how you only think you’re in control.      

(BLACKOUT)

(END OF SCENE)

———————————-  

NARRATOR

(NARRATOR steps to the front of the stage)

 And so, we come to the last rehearsal of Don Juan in Hell—the Musical. The final scene. Joe is focused. Don Juan and his cohorts are no longer children. They are in their mid-thirties and in dialogue with the Devil.

Following the rehearsal, there will be minor revisions, fine tuning, and then, the play will open…

A lot is riding on the success of the play. George, Bella, and Devil (editor) attend this last rehearsal, anxious to see what Joe will offer their community, holding their breath.

Scene 4

SETTING:         Theater stage

AT RISE:           JOE rehearsing with ACTORS

 JOE and ACTORS are working on the final scene of Don Juan in Hell—the Musical. JOE is down to business.

JOE

(to ACTORS, direct and in charge)

Alright, folks, our last rehearsal. I know everyone is tired. I’m sorry I’ve been so, well, distracted… Let’s push through… Reggie, mid-way through the final scene, pick up with Don Juan saying, “Commander: Would you agree…”

DON JUAN

Commander: Would you agree that you, indeed, that everyone is interested in living sanely, vitally, ethically, the art of life, as we have discussed it?

COMMANDER

Everyone, Juan?

DON JUAN

And when, for stretches of time, you are unable to live that way, vitally, let’s say, you feel something is missing, something essential.

COMMANDER

(not sure where this is going)

Perhaps. I suppose so… Juan, I’m not sure…

DONA ANA

(interrupting)

And the thing that is missing, Juan?

DEVIL

(dry sarcasm)

Supplements. Supplements, no doubt.

DON JUAN

Who can name it, Ana? Perhaps it goes by many names. William James, the philosopher, called it the More orthe Much-at-Once.

DONA ANA

The More, Juan? The Much-at-Once?

Stage lights dim momentarily as light comes on dancer who spins, veils flowing. This is brief, a few seconds. DON JUAN, the COMMANDER, the DEVIL, and DONA ANA see the spinning image. Light on dancer goes out and stage lights return.

DONA ANA

But what is it, Juan?

DON JUAN

All I know to say, Ana, is that to experience the More or the Much-at-Once is to feel fully alive, to feel the awe and wonder of existence, itself.

DONA ANA

(reflecting on the phrase and then recognizing the experience in her own life)

Then I have felt the Much-at-Once, Juan. Hasn’t everyone? Immediately following the birth of my children… I felt it then. Or as the sun rose on the day of my marriage to Octavio.

DON JUAN

Yes, an ecstasy of sort.

DONA ANA

A love of life…

DON JUAN

If you prefer.

DONA ANA

(further reflection)

Truthfully, Juan, I experienced what you are describing on my way here.

COMMANDER

(recognizing the experience, chuckling)

True for me as well, my dear, now that you mention it.

DON JUAN

As did I! But it was at the cost of death! We hunger for it on a far more frequent basis while still alive.

COMMANDER

We hunger for it, Juan?

DON JUAN

And we go to any length to experience it. Our addictions, our rampaging… are these other than our flailing attempts to contact the Much-at-Once…

DEVIL

(sarcasm, cynicism)

 Reaching, Juan, reaching! 

DON JUAN

(not to be deterred)

On the other hand, we have invented rituals, meditative practices, extreme activities of one sort or another through which we hope to experience the More. Our great works of art, what purpose do they serve more central than to conjure the awe and wonderment that lifts us out of our trance. When the last line of the great poem is read, one senses a total surround, one senses the Much-at-Once.

COMMANDER

(puzzled)

Juan, I’m still not sure…

DON JUAN

(interrupting)

The Much-at-Once gives us appetite for life, Commander. What else would you have me say? It is the seamless connection with the whole of Nature and Life. Without that experience—however occasional—our will to persist is weakened, our perspective distorted.

COMMANDER

But, Juan, where does it come from? That’s what I’m asking. Not its purpose or its nature, but it’s source. From whence cometh the More?

DON JUAN

Commander, I can no more tell you where the More is from than I can tell you where we are from. I could say that it comes from the world behind our world but, to be honest, I would not know exactly what I meant.

DEVIL

(sarcastically)

Ah, so very helpful, Juan!

DON JUAN

From whence cometh the More, you ask? From the world-whole, the world felt as sacred and we a meaningful part of it. Our cutoffness gone if only for moments at a time.

COMMANDER

(puzzled)

Cutoffness, Juan? This is abstract in ways that…

DON JUAN

(interrupting)

Cutoff from Nature, Commander, from one another, from ourselves. What else is at the root of our troubles? With the Much-at-Once we are by degree healed, refreshed. And without it…

COMMANDER

(interrupting but hesitant)

Juan, forgive me, but this is getting, well… frankly, it strikes me as…

DEVIL

(interrupting)

MYSTICAL HOGWASH! No other way to put it. Don’t back off, Commander. You’re right to be put off!

COMMANDER

Still, I do know the feeling… the experience of which you speak. Not often enough, mind you!

DON JUAN

There is only one thing I would add.

DEVIL

(sarcastically)

Only one thing, Juan? I feel hopeful.

DON JUAN

And here, if not before, I may indeed be reaching.

DEVIL

(sarcastically)

Ah, denouement!

DON JUAN

For with the experience of the Much-at-Once comes an overpowering interest in but one question, the most ancient of questions… WHAT IS THIS? THIS THING WE ARE IN… WHAT IS IT?

DEVIL

(exasperation)

OH, MY LORD!

DON JUAN

And so begins the interest in how to live, in how to inhabit the world-whole. 

(to DEVIL)

What else, old friend, but the MYSTERY and our pursuit of it? You would distract us from it, but you, Sir, are over-matched. Your pastimes, enticing though they are, cannot compete.

DEVIL

(extended pause– respectful, appealing to DON JUAN as a person)

Juan, dear Juan, you are dreaming. I’m not saying you’re not a good person. You are. Earnest, I would say. But you are susceptible to magical thinking. If you looked closely, you would realize that throughout the ages the human being, despite your sacred More remains a herd animal. Humans are heading for the cliff. You know it. I know it. They know it. Are the facts too difficult to face?

DON JUAN

The sacred More, as you put it, is needed for that very reason, your Lordship… for the perspective it makes possible. The ethical is inspired into existence as much as it is willed.

DONA ANA

(interrupting)

Juan, I have listened without interruption. Nowhere in your formulation have I heard mention of love.

DON JUAN

Love of life, Ana. You said it yourself. Without the awe, the wonderment, the love, we lose interest. Where is the motivation?

COMMANDER

And your utopia, Juan, if you were to have one?

DON JUAN

We are given our lives but once, Commander. “Everyone once,” said the poet. To everyone everywhere the right to realize their most ennobling possibility. An age-old idea.

DEVIL

(dismissive)

Age-old, musty, and undoable. Nothing new.

DON JUAN

(insistent)

Have I suggested otherwise? I have only argued that the closing in of what surrounds us gives us little choice. Only one way is open if we are to continue, let alone pursue the mysteries that beset us.

DONA ANA

Only one way, Juan?

DON JUAN

There is also madness, Ana. I stand corrected.

COMMANDER

Juan, I’m not…

DON JUAN

(interrupting)

Who is not mad, Commander, when prevented from pursuing what they believe to be their most noble possibility? You would not have stood for it.

COMMANDER

Quite right, my boy. Might as well deny them their life.

DON JUAN

The Russian novelist… what was his name? …he spoke about “the instinctual longing for oneself.” Deny the pursuit for oneself, and rage most certainly follows.

(to DEVIL)

Speaking of the Russian novelist…

DEVIL

No, Juan. He is not here.

DON JUAN

How about William James?

DEVIL

Never even visited. Not once!

DON JUAN

Shakespeare?

DEVIL

No, goodness, no!

DON JUAN

Louie Armstrong?

DEVIL

Stop torturing yourself!

DON JUAN

WELL, THEN, WHO THE HELL IS HERE?

DEVIL

YOU ARE, DON JUAN. AND THE COMMANDER. DONA ANA.  AND I, YOU’RE FAITHFUL SERVANT.  And I, for one, find only false hope in your view. Do you ever consider the strain your view puts on the average person?

DON JUAN

Is there such a thing, your Honor?

DEVIL

Yes, there is! And your idealism strips that person of their life. It’s the same with all you Idealists. You bombard the working order with unrealistic demands. Unrealistic pursuits. INHERENT POSSIBILITY! THE MUCH-at-ONCE! Fanciful! Gone are the pleasures of everyday life.

DON JUAN

On the contrary, I am talking about deepening the pleasures of everyday life. With the Much-at-Once the spirit is nourished, enlivened. We are eager to live. Eager to realize our most noble possibilities, the pursuit for which you have only contempt. But, truthfully, dear friend, I am as weary of this discussion as are the three of you. I see no reason to not take my leave.

DEVIL pulls DON JUAN to the side.

DEVIL

One moment, Juan. Between old friends: Why are you so intent on the need for the More, the Much-at-Once?

DON JUAN

Because, like you, Dark Prince, I am an observer of the human story. There is a timetable. And now, factors are converging, life-giving and life-ending. The question is being posed.

DEVIL

The question?

DON JUAN

The self-destructive or the life-honoring. Isn’t that the question?  Settle for greater suffering or turn the corner? On the other hand, I have observed the human story for only a short while. You have observed it for eons. Am I wrong?

DEVIL

I do not have the powers of sight you might imagine. But, no, I do not think you are wrong.

DON JUAN

I must take my leave.

DEVIL

If you must.

DON JUAN

I will miss our exchanges, combative though they became at times.

DEVIL

As will I, Don Juan.

DON JUAN

Dona Ana… Commander… I wish you well.

COMMANDER

Farewell, Don Juan.

DONA ANA

We will miss you.

DON JUAN vanishes in the mist.

COMMANDER

I will indeed miss him. Better company than most people gave him credit for.

DEVIL

He will be back, Commander. His kind… they come back more often than you might think.

The actors put down their scripts. JOE sits down as they all sit in a circle to catch their breath and discuss the play. GEORGE, BELLA, and DEVIL stand to one side of the stage.

JOE

(to ACTORS)

No one needs to give their critique now. Sleep on it. We’ll meet tomorrow and make the final cuts. I’ll see if I can fix the smoke machine. Don Juan didn’t exactly disappear into the midst, did he? For now, the last number… as we plan to perform it… Afterwards, we’ll call it a night.

ACTORS and musicians set the stage, place microphones, etc. readying to perform the last musical number. As that goes on, GEORGE and BELLA stand for a moment to one side.

BELLA

(quietly to GEORGE)

 I’m truly proud of Joe. I think I am. Is that what I’m feeling?

GEORGE

Proud? Yes. Definitely. Indeed!

BELLA

Couldn’t be prouder.

GEORGE

Quite an accomplishment, really.

BELLA

(handing her phone to GEORGE)

Call the relatives!

GEORGE

We’ll be fine. Really. I think…

BELLA

(interrupting)

Make some excuse. You’re good at that.

GEORGE

Maybe with the right publicity… word of mouth…

BELLA

A week! It will last a week!

GEORGE

I think there might be interest…

BELLA

(interrupting)

I feel light-headed.

GEORGE

(GEORGE comforts BELLA, arm around her shoulders, BELLA bending over)

Breathe from your diaphragm, dear. There you go… In and out…

BELLA

(had enough)

Cram it shut, George! Worry about your own diaphragm!

All ACTORS, except FRIEDA but including JOE, GEORGE, BELLA, and DEVIL are involved in performing final full stage number — a song about time, voices weaving together asking: Isn’t it time?

(BLACKOUT)

(END OF SCENE)

 End of Act Two

———————————-  

Epilogue

SETTING:         Cafe

AT RISE:           JOE and DEVIL (editor) sitting at café table.

Three years have passed.

DEVIL

I’m glad we were able to meet, Joe. It’s been too long. Since the funerals. Only a few months apart.

JOE

Yes, after my mother, well, it didn’t take long.

DEVIL

They adored each other.

JOE

They were lucky.

DEVIL

And I trust you know, Joe, that despite our heated disputes, your father and I were the best of friends.

JOE

Of course. I always thought of you as another member of the family. Never took those heated exchanges seriously.

DEVIL

(interrupting)

I loved your father’s books… the one dedicated to you… the one about Metaphysics… quite an accomplishment.

JOE

I look through them occasionally. They influenced me more than I ever realized…

DEVIL

Speaking of which: Your play? It’s still running, more than running, right?

JOE

It’s been a surprise. We added a narrator… and then a magical element… that’s what it needed… I only wish my parents could have known of its success. It took a while.

DEVIL

They believed in it, Joe. Well, maybe not at first. A lot was riding on it. But they believed in you.

JOE

It worked out eventually.

DEVIL

And Joe, I know this is delicate… your condition?

JOE

I’m glad you ask. My father’s work… he was always talking about the More, the Much-at-Once.

DEVIL

Ah, yes, the Much-at-Once.

JOE

After the play ended… a day or two later… And suddenly, well, what was it that Pops said? Every instant lived in the Much-at-Once… I started noticing and I felt it, and I felt at home. My interest, my fascination…. Everything called to me. It still does.

DEVIL

This is what your father wanted for you, Joe. Prayed for in his way.

JOE

I never knew what he was praying for, not exactly.

DEVIL

And the visions, the sadness…

JOE

Just a memory.

DEVIL

Wonderful, Joe. You now have the rarest form of wealth. I’m happy for you. (pause)

So, before I leave, tell me: Anything planned? A new project?

JOE

No. I have nothing planned.

DEVIL

If ever you need me…

JOE

You know, I’m almost embarrassed to say this… I never knew your line of work. Not exactly.

DEVIL

Editing. Simplifying. Breaking wholes into parts. That’s all. Like I did for your father.

JOE

My parents loved you. They always marveled at how you never aged. It’s true. You’ve looked the same all the years that I’ve known you.

DEVIL

It’s my work, Joe. I love my work. Do take care. Remember, I’m never far away.

JOE

Wonderful to see you. And thank you!

The two men stand and embrace. DEVIL exits. JOE puts money on the table. As he looks up, FRIEDA enters the café. When they see each other, they stop and continue to look at one another. JOE sings a brief song to FRIEDA expressing how wonderful it is to see her and how he has nothing planned.

  g by the end of JOE’s brief song. They lean toward one another as they begin to talk. In the background, light comes on DANCER and NARRATOR. NARRATOR bows. DANCER extends her hand. Spins. Light fades.

(BLACKOUT)

(END OF EPILOGUE) 

The End