Embedded Files
This play is envisioned to be in the round. A square stage is divided into four quarters with a small pool in the center. Each quarter is the same room at four different points in time. Characters move from one room to another frequently, fluidly passing through time periods, requiring strong command of their physicality, voice, and speech patterns.
From the opening of Tumbleweed...
⚫ "MICHAEL: I wait for my sister's death. Every night, when the moon glares at this theater, she wafts across this desk, her spirit elusive. The forms color and define her... she defines them in return. [to an audience member] What is the time? I don't mean that metaphotically, I mean it, literally. What is the time [ad-libbing until someone can give him the time]. Thank you. Could you wake me up in forty minutes? Thank you. I'll be over there if you need me, but I will be focusing hard, so please do not interrupt. _____(the time)... the lights go off at ___(ten after). Not soon enough. [singing and dipping into the pool] Taste and see; taste and see...
Stylistic Information
Stylistic Information
This play could fit into either the bundle "naturalism" or the bundle "phantasmagoria." Over time, I explored these two genres in different ways. I hypothesize that the phantasmagorias were evolving naturally towards a hybrid with the naturalism, and when they truly intersected, they birthed Tumbleweed. It's a phantasmagoria in composition, but when it comes to the characters, they are as natural, unpolished, and themselves as they need to be for the scene.
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