Departure (excerpt)

Synopsis:

In a way, I guess, ‘Departure’ could be looked upon as a modern riff on ‘Waiting For Godot’ – only, in this case, Godot (in a rather unexpected way) shows up.

Godot is about imminent arrival.  ‘Departure’ is about its opposite.

It is also what one might term a ‘state-of-the-nation’ or even, pardon the hubris, a ‘state-of-the-world’ play.

Each of the stakeholders is consumed by their ‘mission’, no matter how large or small.

But, as the tension is ratchetted up, we start to lose sight of what might or might not be important, as everything seems to take on an urgency that precludes all else.

It is a play that addresses this compartmentalisation/fragmentation of modern society, where life (alas) is very much what happens whilst you’re planning other things.

It is set in an airport departure lounge, where each of the characters has a very compelling reason for reaching their destination within a limited period of time.

But, as the flight keeps getting delayed, each of the characters’ windows of opportunity begin to narrow, inexorably, leaving each of them totally unprepared for what has been happening right under their very noses.

Character Breakdown:

The play is a nine-hander: 6 females, 3 males
JIA   30s  Chinese male
NUAN    30s  Chinese female
NGARRA   56  Indigenous Australian male
YOSHIKO   40s  Japanese female
CARA   50s  Italian female / DRAGANA   40s  Bosnian Croat female – one actor.
KAMINI    40  Indian female / OFFICER – one actor.
GRANT   20s  White Australian male
SADA    30s  Muslim female
DARCY   28  White Australian female

Running-time:  75 minutes.

Production History:  Not yet produced.

Excerpt available for download for free.