Carr - Marina Carr Plays 1
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- Book:Marina Carr Plays 1
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- Publisher:Faber & Faber
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- Year:2014
- City:London
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Marina Carr Plays 1: summary, description and annotation
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The first collection of plays by Marina Carr introduces the work of a major new voice in playwriting.
Love in the Dark
One of the most exciting, new and absolutely original aspects of Carrs writing is the manner in which the sexism of the language and religious imagery is exposed... Marina Carr is a playwright to be watched. Sunday Tribune
The Mai
The writing is at once gentle and raucous... capable of articulating deep-seated woes and resentments in a manner you rarely find outside Eugene ONeill. Observer
Portia Coughlan
A play of precocious maturity and accomplishment. Irish Times
Portia Coughlan packs a hell of a punch. It hurts to look at it. But it has to be seen. Irish Independent
By the Bog of Cats...
A poetic realism steeped in the past... Carr has an extraordinary ability to move between...
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For Dermot and William
When I was a scut we built a theatre in our shed; we lay boards across the stacked turf, hung an old blue sheet for a curtain and tied a bicycle lamp to a rafter at the side of the shed so its light would fall at an angle on the stage. For costumes we wore brown nylons over our faces. There were always robbers in our plays. Even when you werent playing a robber, you dressed like one, for any second you could be caught or hung or shot. Even the Good Guy dressed like a robber, so if the worst came to the worst he could arrest himelf. Everyone was interchangeable. One minute you were the heroine on the swing and the next you were in the stocks pleading guilty to every crime invented. Our dramas were bloody and brutal. Everyone suffered: the least you could hope to get away with was a torturing. And still we all lived happily ever after. Good and bad got down from their ropes or off the rack or out of the barrel of boiling oil, apologized to the Goodie who was usually more perverse than all the Baddies put together and made long soliloquies about never doing it again. Everyone was capable of redemption except Witches. We had no mercy for Witches, but since the Witch had all the power and all the magic, we could never finally throttle her with all the righteous savagery of our scuttish hearts. Just when we had her choked down to her last cheekful of air or had her chest bared for the stake, shed cast one of her spells and escape on the handle of an old spade.
Scuts know instinctively that morality is a human invention, fallible and variable as the wind, and so our dramas were strange and free and cruel. But scuts also have a sense of justice bar the Witch, I dont know what she was about and hence our desire for the thing to end well. We loved the havoc, the badness, the blood spillage, but loved equally restoring some sort of botched order and harmony. Ignorantly we had hit upon the first and last principles of dramatic art. And the Witch? Maybe she was Time. Time we didnt understand or fully inhabit, and yet we respected and feared her. And fell away humbly under her spells and charms and curses. If Im after anything when Im writing plays, its the scuts view of things as they are or were or should be, and perhaps once in a blue moon be given a sideways glance of it all as the first dramatist might see it and how it should be done.
Marina Carr
February 1999
Low in the Dark was first performed by Crooked Sixpence Theatre Company at the Project Arts Centre, Dublin, on 24 October 1989, with the following cast:
Curtains Brid Mhic Fhearai
Bender Joan Brosnan Walsh
Binder Sarah Jane Scaife
Baxter Peter Holmes
Bone Dermod Moore
Director Philip Hardy
Designer Liz Cullinane
Costumes Leonor McDonagh
Lighting Brian ORourke
Music Bunnan Beo Ensemble
StageManager Lorraine Whyte
Bender, in her fifties, attractive but ageing
Binder, Benders daughter, in her mid-twenties, a spoilt brat, whimsical
Baxter, in his mid-thirties, Curtains lover
Bone, in his late-twenties, Binders lover
Curtains can be any age, as she is covered from head to toe in heavy, brocaded curtains and rail. Not an inch of her face or body is seen throughout the play
Stageleft Bizarre bathroom: bath, toilet and shower.
A brush with hat and tails on it
Stageright The mens space: tyres, rims, unfinished
walls and blocks strewn about
The floor is chequered in cream and black
Soundtrackon,lightsonmiddlestagespace.
Curtainswalksdownthemiddlespace,looksright,looksleftthenlooksstraightahead.
Curtains Before they ever met the man and woman had a dream. It was the same dream. The woman dreamt she came up from the south to meet the man from the north. It was the same dream. The man dreamt he came down from the north to meet the woman from the south. It was the same dream with this difference
Binder (getsupfromthetoiletwhereshehasbeensittingasifonathrone) Open those bloody curtains!
Curtains, caught mid-story, gives herself a vigorous dusting with a carpet beater and walks off.
Why does she never open her curtains? Even an inch!
Bender (fromthebath) Even half a one!
Binder (yellingafterher) Open those bloody curtains!
Bender Id love to rip them off her! There is a life to be lived, Id say as Id rip them off, or didnt you hear? And then Id tell her, its not every woman can say that shes been loved!
Binder Go on! Give us a go in the bath.
Bender (pushesheraway) Go away!
Binder You look old today!
Bender (nonplussed) Ill be older tomorrow.
Binder Theres grey in your hair!
Bender Yours is falling out.
Binder Youve put on weight!
Bender Thats the baby.
Binder Another one?
Bender And why not?
Binder Its not fair.
Bender To who?
Binder To anyone to you, to him!
Bender It might be a her.
Binder Never, babies are always boys.
Bender Even when theyre girls.
Binder And its not fair to me! Ill have to sit here and wait and listen to you screaming!
Bender A good scream would do you the power of good!
Binder Ive nothing to scream about.
Bender Thats your tragedy.
Binder (lookingatherselfinthemirror) Do you like my hair?
Bender I love your hair.
Binder And
Bender And your lips.
Binder Yeah, I love them too, will I put on more lipstick?
Bender Sure why not, give me some too.
Both put on lipstick.
Here! Put him in the shower. (Shesjusthadababy,babycryingsounds.)
Binder Why didnt you tell me? (Holdsupthebaby.)
Bender You accuse me of screaming too much, so I had a silent birth this time.
Binder Did it hurt?
Bender After the first million you get used to it.
Binder Can I feed him?
Bender Go ahead!
Binder (breast-feedingandexaminingthebaby) Its a she!
Bender Whatll we call him?
Binder Alexander.
Bender
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