The New Colossus- Episode 4: Fun, Fun, Fun, Day!
Description: The New Colossus Audio Drama is a totally unhinged dark comedy reboot of Anton Chekhov’s classic play, THE SEAGULL.
TNC is a production of Artist Soapbox and Soapbox Audio Collective with support from the Manbites Dog Theater Fund, the patrons of Artist Soapbox, the Mary Duke Biddle Foundation, Timothy McMackin, and Trailblazer Studios.
CONTENT WARNING:
The New Colossus Audio drama is rated R for content.
Episodes contain: explicit language, lust and sexual situations, gunfire, death, dysfunctional conversations, illness, bad theatre, anti-patriotism, drinking, and arm-wrestling.
You’ll laugh, you’ll cry. We hope you enjoy….The New Colossus.
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Transcript
Intro:
Welcome to The New Colossus Audio Drama, episode 4 of 6.
This is a production of Artist Soapbox and Soapbox Audio Collective with support from the Manbites Dog Theater Fund, the patrons of Artist Soapbox, the Mary Duke Biddle Foundation, Timothy McMackin, and Trailblazer Studios.
The New Colossus is a completely unhinged dark comedy reboot of Anton Chekhov’s classic play, THE SEAGULL.
Content Warning:
The New Colossus Audio drama is rated R for content.
Episodes contain: explicit language, lust and sexual situations, gunfire, death, dysfunctional conversations, illness, bad theatre, anti-patriotism, drinking, and arm-wrestling. You’ll laugh, you’ll cry. We hope you enjoyâĦ.The New Colossus.
Episode four
Scene 7 – ext – same day
MUSIC: Party Set-Up
Plays under dialogue below until Irina steps up to the mic on for Scene 7A on page 61.
NOTE: A bustle of activity and piped in muzak. People are setting up an impromptu/ramshackle carnival. KONRAD has a bandage around his head. He carries the shopping bag with a dead seagull in it and his camera held at his side. PAULIE is commanding the troops.
FX: Ocean sounds as before in Sc 1. Crowd bustling and set-up. Party muzak.
PAULIE
All the food over there. We’ll need another table for the drinks.
SoRIN
Booze, booze, booze and eats! My kinda party.
PAULIE
Masha, Meddie we need more tables. Konrad, would you help?
KONRAD
I guess
PAULIE
Where are those trash bags? Come on, Sorin.
Sorin
Whoo-hoo!
FX: PAULIE walks away wheeling SORIN.
KONRAD
Has anyone seen Nina?
MaSHA
How’s your head?
KONRAD
It hurts. I’m fine.
MEDDIE
What’s in the bag?
Konrad
A gift for her.
FX: Paper bag crackling.
Meddie
(reaches for the bag)
Lemme see
KONRAD
Don’t worry about it.
PAULIE
(calls to them)
Less talking, more working, children.
SoRIN
(from a distance)
Irina’s coming.
KONRAD
The Queen approacheth.
FX: IRINA footsteps.
IRINA
Hello, hello! What a glorious day!
KoNRAD
Where’s your boyfriend?
IRINA
Fishing.
KONRAD
For a decent plot?
IRINA
He’ll be here shortly.
MeDDIE
There he is. With Nina.
MASHA
Carrying his pole.
MEDDIE
Nina likes fishing?
Masha
(to the tune of I like big butts)
She likes big fish and she cannot lie —
FX: MEDDIE and MASHA sing and laugh.
IRINA
Don’t be little shits, darlings.
FX: PAULIE approaching with SORIN
PAULIE
(approaching)
Alrighty, Irina, we’re all set pretty much.
FX: TRIG and NINA footsteps.
TRIG
Salutations, friends!
NINa
Hey.
IRINA
Glad you could make it.
SorIN
Sister my sister! Let’s get this party started!
Irina
Yes! Let’s!
IRINA, as MC of the event, takes the stage and speaks into the microphone.
MUSIC: Party set-up from page 60 fades out
FX: Stepping onto a stage. Microphone sounds.
IRINA
(on mic)
Test, test. Hello! Hello!
FX: Small crowd ‘hello!’or cheer.
IRINA
(on mic)
Welcome, to our Fun, Fun, Fun Day!
FX: Small crowd clapping.
IRINA
(on mic)
When I was a girl growing up here, we threw so many wild parties — singing, dancing, playing, laughing. And love affairs, of course! My big brother was a real Don Juan back then. A heartbreaker. (to SORIN) So many people tripping over their tongues for you. You remember, darling?
SoRIN
How could I forget?
FX: Crowd laugh.
IRINA
(on mic)
Yes, I’m happy to report that our dear Sorin is much improved! If he follows doctor’s orders, he’ll be right as rain. Maybe we can even get you out of that chair for some dancing?!
FX: Crowd laugh/whistle.
IRINA
(on mic)
Sadly, Trig and I will be returning to the City tomorrow. We have enjoyed our visit here so much, but we both have important business elsewhere. Now we can rest easy with the knowledge that Sorin is on the mend and that my lovely boy, Konrad, will continue to care for him. Thank you, Konrad.
For those of you who were in attendance at Konrad’s play last week –
FX: KONRAD lifts the camera quickly to record this feedback. Paper bag crinkling. Camera shuffles and turns on.
KONRAD
(whisper)
New Colossus Feedback Sessions continued. Rolling.
Irina
(on mic)
I’d like to clear up any confusion. I continue to be very proud of my Konrad and his “art”. My comments and Konrad’s subsequent behavior were the result of some minor misunderstandings. We have put that all firmly behind us. Haven’t we, Konnie? Put the camera down, dear.
Konrad
(whispering)
Konrad Arkin here at Fun, Fun, Fun Day.
Irina
(covering the mic)
Put that godd — 1, 2, –
KonrAD
(whispering)
We’re out.
FX: Camera off. KONRAD tosses his camera into the shopping bag. Bag crackle.
Irina
(clears throat, on mic)
Yes. Now, this shindig was not cheap, so you’d better enjoy it! Cue the music. Everyone, dance!
FX: Crowd applause. Music and dancing!
MUSIC: Cue the music! Everyone Dance!
This music transitions into the next scene and volume lowers to accommodate the dialogue.
NOTE: MEDDIE takes MASHA’s arm and pulls her over to the PROVE YOUR STRENGTH table.
MeDDIE
Fancy a game of strength?
MaSHA
Fancy getting your ass kicked? I’m arm wrestling champ three years in a row.
MeDDIE
But I’ve been lifting weights.
MashA
When?
MeDDIE
At night when my mom can’t sleep. I keep her company.
Masha
Meddie’s motto: “Work more, sleep less”
Meddie
It’s what I gotta do.
MASHA
You need a beer STAT.
MeDDIE
Yeah.
FX: They open beers, drink and ahhh!
MashA
Alright, buddy. Prove your strength.
FX: Clasp hands. Struggle.
MeDDIE
Every freaking day…
FX: Whump. MEDDIE Wins.
MeDDIE
One for me.
Masha
Again.
FX: Clasp hands. Struggle.
MEDDIE
What does your shirt mean? “I’m in mourning for my life.”?
MASHA
It means I’m unhappy.
MEDDIE
No shit. You got no reason.
FX: Whump. MASHA wins.
Masha
One for me! Best of three, come on, dude, show me what you got.
FX: They reset. They struggle to win. MASHA’S cellphone vibrates. They pause so she can answer the text.
MASHA
Hold up.
MEDDIE
Your dad?
MaSHA
Yeah. Don’t worry about it. Again.
FX: They resume the arm-wrestling struggle.
MEDDIE
At least you’re not me. In my situation.
FX: Whump. MASHA wins. They massage their arms.
MASHA
Ahh! Your situation is that you have been defeated. Haaaaa – the crowd goes wild.
MeDDIE
I think I pulled a muscle.
MASHA
I can definitely feel the difference, dude – the weight lifting is working.
MedDIE
Oh. Cool. Masha, I was thinking – if I had more money, would you –
MASHA
Uh-uh. Money doesn’t matter to me. Your mom doesn’t. You know I’m not into you.
MeDDIE
Can I kiss you on the cheek? According to the rules, the winner gets a kiss.
MASHA
The winner makes her own rules. No kisses. Got any weed?
MeDDIE
A little.
MASHA
Let’s smoke.
MEDDIE
Ok.
MASHA
Ok.
MeDDIE
Masha, I love you, but Konrad doesn’t love you, and I feel like there’s a chance that you’ll come around to loving me, but Konrad will never come around to loving you. So just want think about that. I might be your one best chance to get out of your house and be with someone who’ll really cherish you. And you can keep making your music cuz I’ll pay for your life – I’ll work three jobs if I have to — and we can be happy. Because I may not be fireworks and poetry, but I am a grown-ass man and Konrad will never be more than a child who can hardly take care of himself. Masha, when you wake up to that, I’ll still be here for you and it’ll be like we never had this conversation. I’ll just be happy that you chose me and we’ll go on like that just really really happy together.
FX: IRINA interrupts, pulling KONRAD behind her. KONRAD is carrying the camera and dead seagull in the shopping bag. Steps. Bag crackling.
IRINA
Masha! Meddie! Vacate the table, dears. I’m taking on my offspring.
KonrAD
I don’t feel like it, mother.
IRINA
Nonsense. The doctor said you’re fine. Masha, you look ill. Are you taking care of yourself?
MASHA
No.
IRINA
Honestly, child, I’m almost twice your age and – here stand next to me. Who looks younger?
Meddie
You of course, Miss Irina.
Masha
You do.
IRINA
Of course. I feel things. I take care of myself. I live! You look like a little old crone. I swear, you kids today mope about like you don’t have blood in your veins or a damn aspiration to divide between you. Shake your little asses. Take a bite out of life!
MASHA
Ok
IRINA
Life is for the living. Never think about old age or death. That’s a rule. Que sera sera etc. Now, snap out of your funk and go have fun.
MaSHA
Let’s go.
Meddie
Later, Kon. Bye, Miss Irina.
FX: MEDDIE and MASHA exit.
MUSIC from Cue the Music, page 63 has faded out completely by now and is replaced by the following:
MUSIC: Irina and Konrad
Music plays thru the scene, accommodating dialogue, completed by IRINA’s “All better now” on pg 72.
IRINA
Bye now. Alright, my dear, prove your strength!
FX: IRINA and KONRAD sit and clasp hands.
KonRAD
(laughs)
Sure.
FX: Whump. Whump. Whump. IRINA wins three rounds in short order.
Irina
Me. Me. Me. You didn’t even try. Come on, winner gets a kiss.
FX: KONRAD kisses her cheek and she rises to check his bandage. In the background, the others are playing games, in particular the dart game that pops balloons.
IRINA
Aw, thank you, dear. Your bandage is slipping. Sit down, I’ll fix it. (startles) Oh! I hate that balloon popping game. Trig! Tell them to stop with the balloons.
Trig
(in the distance)
It’s fun!
IrINA
Fun to scare me half to death? (to KONRAD) There, darling. All fixed. You’ll hardly have a scar.
KONRAD
Where did you hide my gun, Mother?
IRINA
Sorin and I put it away for awhile, that’s all.
KONRAD
It was an accident. I’m a grown man. It’s my property.
IRINA
(laughs)
When you were a child, you drove us crazy with your little obsessions. Traveling to Mars, holding your breath under water, secret societies — all sorts of things. You’d set your mind to it whatever it was, everything else be damned. Like a dog with a bone gnawing away. We thought it meant you were a genius so we indulged you, then you became so tiresome. Eventually, we’d bark at you, Ruff! Ruff! as a signal to stop the madness. Ruff, Ruff, Konrad! Down boy! Let it go! We were just teasing of course.
KONRAD
I remember. Ruff. Ruff.
IRINA
But you’d keep on, worrying and worrying at whatever you’d fixated on, until finally I’d take the bone away. Just to have a bit of peace. You didn’t like that. What a strange boy you were, Konnie.
KONRAD
I’m not obsessed with my gun.
IRINA
I didn’t say you were, dear.
You can have it back after we’ve gone.
KONRAD
You and Trig?
IRINA
Yes.
KONRAD
He’s a coward. I told him I wanted to fight him, now he’s leaving.
IRINA
He’s leaving because I said we’re leaving. No more accidents, Konnie — concentrate on getting better and taking care of your Uncle.
KONRAD
When I was a boy it was just you and me. I’d come with you to the set. I’d sing and dance for you.
IRINA
I remember.
Konrad
I loved that, Mother. You loved it too. You’d put your hand on my cheek so gently before tucking me in at night. Nina doesn’t love me anymore and Uncle Sorin will die soon. Then I’ll only have you, but you won’t be here anymore.
IRINA
There are so many girls in the world, Konrad. Nina isn’t special. I’ll always love you.
KONRAD
What about Trig?
IRINA
What about him?
Konrad
How can you tolerate that horrible man?
IRINA
Trig is sublime!
KONRAD
He walks around here like he’s some kind of genius, salivating after Nina, and lording it over me. His books make me sick. You both make me sick.
IRINA
You’re just jealous. You can’t write a decent little play to put on in the backyard, and Trig is a talented author.
KONRAD
I have more talent than the two of you put together.
IRINA
I’ve seen absolutely no proof of your talent, my dear.
KONRAD
At least I don’t screw my way into the spotlight. Trig’s famous and your career is fading, Mother. Hoping a little of his star power will rub off on you? Better hold on tight.
IRINA
You little shit.
KONRAD
You’re nobody!
IRINA
No, you’re nobody! No one outside of this neighborhood gives a fuck about you. If you disappeared off the face of this earth, no one would give a good goddamn. You’re nobody! I’m going to cut you off, you hear me? Try making it on your own for once, you little freeloader. I won’t baby you anymore, you hear me?
FX: People have gradually slowed their game-playing to watch the IRINA/KONRAD meltdown. KONRAD cries.
KONRAD
I can’t write anymore, you know. You don’t love me. Nina doesn’t love me. I’m disappearing! I’m disappearing.
FX: KONRAD cries quietly. IRINA embraces him and wipes his tears.
IRINA
Oh, don’t say that. Konnie, Konnie, please don’t cry. There’s nothing to cry about, darling. Mother is sorry for losing her temper. All will be well. You’ll see. He is going away. She will love you again. Everything will be ok. I would never really cut you off, Konnie. How could I? Ok? We’re friends again, aren’t we?
FX: KONRAD hugs her fiercely. He feels better.
MUSIC: Irina and Konrad — track completed. No music under the following:
KONRAD
Yes, Mother, yes.
IRINA
Yes, there’s no reason for anyone to fight. All better now.
FX: Beat. Someone coughs/shuffles. KONRAD sniffs. People are quiet (party noise has faded).
IRINA
For goodness sake, what’s everyone looking at? What happened to the music? Play that song I like. Play it! I expect to see everyone dancing!
FX: Dancing and party noise resumes.
MUSIC: Play that song I like!
Music is a transition into the next scene and then volume lowers to accommodate dialogue.
Konrad
Nina, hey.
NINA
Oh, hey, Kon.
KONRAD
I have something for you.
FX: KONRAD offers her the shopping bag with dead seagull.
NINA
Cool. What’s in it?
KONRAD
Open it.
FX: Bag crackle. NINA opens bag.
NINA
Eww, is that the dead bird from your play?
KONRAD
(He begins to laugh.)
No, it’s another one.
(NINA joins his laughter.)
I tried to blow my brains out, but I flinched and the gun went off and this fucking bird dropped from the sky just like before. Can you believe it? What are the fucking chances I’d shoot two?
NINA
We do live close to the beach.
KONRAD
I want you to have it.
NINA
I don’t want that. Give it to Masha — she’ll stuff it and mount it by her bed.
KONRAD
The point is to give it to you.
NINA
That’s weird, Kon.
KONRAD
I’m laying it at your feet.
NINA
But I don’t get it, ok? I’m straining to find your metaphor, but everything I come up with is just messed up. Stop acting so odd.
KONRAD
My play was a failure.
NINA
No one cares about that anymore. It was a week ago. I’m leaving, you know.
KonRAD
I know.
NINA
I’m going to the City. Do you think I’m ready?
KONRAD
I think they’ll chew you up and spit you out and you’ll look like this (makes dying bird sound).
FX: KONRAD nudges the dead bird bag.
NINA
Nice.
Konrad
Nina Beana, don’t go. You’re my star.
Nina
I can be everybody’s star.
Konrad
No.
NINA
You’ll see. You can say ‘you knew me when.’ I know you’re committed to your Uncle and all, but when he dies, you should leave too. This place is no good.
Scene 7F
FX: NINA and KONRAD dance/fade away. PAULIE and SORIN move into focus (she’s pushing his wheelchair).
MUSIC: Play that song I like (on page 72) fades out and is replaced by the following:
MUSIC: Sorin and Paulie
Music continues under this scene until pg 76.
Sorin
Pull over there, Paulie. You’re tired of pushing me.
PAULIE
I’ll squeeze you into that bit of shade. Whew. You need to get something with a motor.
SORIN
I’ll ask Irina.
FX: Wheels. Brake.
SORIN
Would you like to come out of the sun, young lady? You can sit on my lap.
PAULIE
(laughs)
You know I would, but I can’t.
SorIN
Why not?
PAULIE
People would talk.
Sorin
They already talk.
PAULIE
Well not in a way that hurts anyone. May I get you a snack or some water, sir? It seems you have become my responsibility.
Sorin
You love it.
PAULIE
You think so?
SORIN
Paulie. You’re good to me. I should have chosen you.
PAULIE
You should’ve, but you didn’t. There were so many others to mess around with.
SORIN
You married that brute, that goddamn idiot. You’re a good person! You’re good!
PAULIE
Yes, I am! It doesn’t make me feel any better that you’re figuring this out twenty-five years too late.
SORIN
And now I’m dying. Goddammit.
PAULIE
Take my hand. No one will take notice of two old friends holding hands.
Sorin
Paulina –
PAULIE
Sorin. Maybe later I’ll let you give me a spin on your wheelchair.
SORIN
(laughs)
Fat chance.
FX: PAULIE’s phone vibrates (it’s her husband checking in).
PAULIE
Lemme get that.
Sorin
It’s the brute?
FX: PAULIE types in a response.
PAULIE
“All is well?” Yes. (types) All is well, husband. Let’s get something to drink.
FX: PAULIE wheels him away and they fade out.
MUSIC: Paulie and Sorin (pg 74) fades out and is replaced by the following:
MUSIC: Trig and Nina
Music plays under scene below until pg 80 when IRINA gets on the microphone.
NOTE: NINA and TRIG sit at the arm wrestling table. NINA is carrying the shopping bag with the dead seagull.
TRIG
(reading)
The “Prove your strength” table. Shall we give this a whirl, my silly goose?
NINA
Oh. Sure.
FX: They sit. They clasp hands.
NOTE: There’s some delicious for-the-first-time-hand-holding. TRIG wins all three matches during their conversation. NINA doesn’t put up a fight.
TRIG
You ready?
NIna
Mmm-hmm.
FX: They breathe. Whump.
Trig
One for me!
NINA
Yay! Mr’O Ry — Trig, I’m leaving tomorrow too. I’m going to be a real actress.
TRIG
Really? (smells her) You already smell like the real thing.
(They laugh.)
NINA
I’m going to the City too. You might see me – though I’ll be traveling coach and you’ll be in first class. Do you think I’m ready?
TRIG
You’re a big girl. Decide for yourself. Let’s go again.
FX: Whump.
TRIG
Two for me. Ha!
NINA
Will you think of me sometime when you’re up in your big penthouse and I’m waiting tables?
TRIG
You bet. Again.
FX: Whump.
TRIG
And that’s three. Were you trying to lose?
NINA
I wasn’t trying to win.
Trig
(laughs)
Nina, I’ll always think of you perched in that ridiculous nest in Konrad’s play, wearing your wings on a beautiful summer’s eve. So young and innocent and serene — a celestial creature above the daily muck-and-fuck of the rest of us. I’d love to be you for a few hours, just to remember what it’s like to be pure. I’m too old now. I’ve forgotten.
NINA
You are the perfect amount of old. You’re seasoned.
(They laugh.)
Nina
Let’s trade places then. I’ll be famous and you’ll be pure.
TRIG
Wouldn’t that be nice? I won. You owe me a kiss.
Nina
Ok. Mwah.
FX: NINA kisses his cheek, very close to his mouth.
NINA
You don’t like being famous?
TRIG
I like the money. It’s a very hostile life. The constant pressure to produce. It’s all bullshit, but it’s easier just to go along with it. When you ‘get famous’ you become public property. Everyone owns a piece of you. It’s an absurd, addictive life. I think you might like it too much.
NINA
I’d do a lot to have that.
TRIG
Yeah?
FX: TRIG nudges the bag. Bag crinkles.
Trig
What’s in the bag?
NINA
A seagull. Konrad shot it, and he wants me to have it. Bizarre. I’m gonna dump it off the dock.
TRIG
That’s insane. Can I have it?
NINA
I guess. Why?
TRIG
I don’t know, it gets my creative juices flowing. I have a story idea right now.
NINA
Really?
TRIG
A young girl lives near the beach. She’s happy and free just like this seagull. Then she meets a man; he destroys her, and then voila…dead seagull.
NINA
He destroys her why?
TRIG
Gives him something to do or maybe it was an accident. I’ll jazz it up so it’s a thriller.
NINA
What is with you guys and this bird? Take it. Your story needs some work though.
FX: THEY laugh together. TRIG hands her his card.
TRIG
This is my number, silly Nina. Call me when you get settled. Thanks for the bird.
FX: TRIG rises and picks up the shopping bag.
NOTE: IRINA calls to him from the stage, over the microphone.
MUSIC: Trig and Nina is interrupted/cut off abruptly.
IRINA
(on mic)
Paging Trig O’Ryan. Trig O’Ryan, please report to the stage.
Trig
(calling from the crowd)
On my way, sugar.
Irina
(on mic)
There’s my man. There’s my man!
Don’t go sneaking off now, baby. There’s no reason to be shy. I’ve cooked up a little surprise. I hope you like it.
Trig
(calling from the crowd)
You’re gorgeous, dollface!
Irina
(on mic)
Now all of you know, Trig and I have been lovers (and friends) for just a little while, but that man has rocked my world! I’ve never laughed more, shared more, come more than I have since I’ve been with him. He’s a genius and that’s that. And he likes when I put on a show.
FX: Crowd oooo and laugh.
IRina
(on mic)
Trig and I met in Mexico, in a little town called Ala Rota. You remember, T-baby?
TRIG
You bet I do!
IRINA
I was already there working when Trig blew into town for a…what, a book event? He swept me off my feet. All my other potential liaisons…well, I got rid of them fast. Because when you taste magic, there’s no going back.
However…we all have our muses…right, darling? Mmmm, I wonder what he’s doing these days. Perhaps I’ll look him up…
Song
MUSIC: CONMIGO Irina main song
NOTE: IRINA sings seductively for TRIG. He’s into it.
FX: At the end, they make out passionately and people snap photos with their phones.
MUSIC: REPRISE Conmigo Irina music
After some kissy sounds, reprise comes in. Dialogue continues over reprise. Reprise fades out at the end of the scene.
Trig
Jesus fucking Christ, Irina.
Irina
Let’s go, lover boy.
FX: TRIG and IRINA exit and the music plays on.
SCENE 8 – Ext – same evening much later
NOTE: MASHA’s sitting alone, drinking leftover beverages from the Fun Day. The feeling of an abandoned carnival grounds at night, with detritus scattered about. Quiet and still.
FX: NINA enters and sits next to MASHA. Quiet insects, birds and ocean.
Nina
Hey.
Masha
Hey.
NIna
What are you doing?
Masha
I’m not done with the par-tay.
Nina
It’s so quiet. It’s nice.
MASHA
Yeah. Want a beer?
NINA
Sure.
FX: Bottles opening or tabs opening. Drinking.
MASHA
Isn’t it past your bedtime?
Nina
Couldn’t sleep. I’m leaving tomorrow.
MASHA
I heard. Lucky duck.
FX: They drink.
MASHA
You and I used to play together when we were little. All the time.
NINA
What happened?
MASHA
You got boobs.
NINA
So did you, eventually.
MASHA
Way too late. Last one to puberty’s a rotten egg.
NINA
Sorry.
MASHA
For getting boobs? For puberty? What?
NINA
No. I don’t know. I’m sorry we stopped playing together.
MASHA
It’s ok. I was never very nice to you. Your boobs got revenge.
FX: MASHA and NINA laugh.
Nina
Cheers.
MASHA
Cheers.
FX: They clink beers; they drink.
MASHA
Can I hold your hand?
NINa
Yeah.
Masha
Thanks. Cheers.
Nina
Cheers.
FX: They clink beers; they drink.
NINA
It’s hard to grow up here.
MASHA
It’s beautiful.
NINA
It’s beautiful. Why is it so hard?
MASHA
It would be ok if it weren’t for the people.
FX: MASHA and NINA laugh; they continue to hold hands. They drink.
NINa
I’m leaving tomorrow.
MASHA
You said. Running away?
NINA
No, I’m going to ‘be somebody’.
MASHA
You already are, dummy. It’s good that you’re going. Konrad, though…
NINA
He’s broken. We can’t fix him.
MASHA
I know.
FX: They continue to hold hands. They drink.
MASHA
I’ll probably marry Meddie. I think I’m going to.
NINA
Now who’s running away?
MASHA
I really need someone to love me. Besides my mom.
NINA
Yeah.
FX: MASHA’s phone buzzes; she looks at it.
MASHA
Ahhh. I’m gonna get my ass beat if I don’t get home.
NINA
Really?
MASHA
His house. His rules.
FX: MASHA puts her head on NINA’s shoulder and sighs.
MASHA
I’ll go in a minute. This is nice.
(beat)
Nina? I still sleep with the lights on.
NINA
Me too. We’ll be ok.
MASHA
Maybe.
NINA
I don’t see why not.
They continue to hold hands.
FX: Fade up of all night sounds + music. Outro.
OUTRO: Thanks so much for listening to episode 4 of 6.
The New Colossus was written, directed, and produced by Tamara Kissane. This audio drama was adapted from Tamara’s 2016 stage play produced by Little Green Pig Theatrical Concern and inspired by Anton Chekhov’s play, THE SEAGULL written in 1895.
Big thanks to the incredible team who made this audio production possible:
Executive Producer: Aurelia Belfield.
Sound design and editing by Sam Elia.
Original Music by Edith Snow and Skylar Gudasz.
The audio was recorded at Trailblazer Studios by Cameron Fitzpatrick, our audio engineer and production manager Kyma Lassiter with additional support from production assistants Barbette Hunter and Kaley Morrison. This audio drama features the acting talents of Ron Lee McGill as Konrad, Carly P. Jones as Nina, Edith Snow as Irina, John Jimerson as Trig, Skylar Gudasz as Masha, Ryan Ladue as Meddie, Susannah Hough as Paulina and Michael Foley as Sorin. Kyma Lassiter was the anonymous interviewee on the street. Graphic design by Kaley Morrison.
For more information and to become a patron, please visit thenewcolossuspodcast.com. For any questions or just to say hi, email us at thenewcolossuspodcast@gmail.com and check us out on Twitter, Instagram, and Facebook. Links are in the shownotes. Thanks for listening. Stay tuned.
#end of episode 4#
