next morning
The play was developed as part of the Michael and
Marianne O’Shaughnessy Playwright
Development Fund.
BEAU JEST premiered at the Victory Gardens Theater on November 16, 1989, under the direction of Dennis Zacek The set design was by Stephen Packard, the costume design was by Jessica Hahn, the lighting design was by Larry Schoeneman, the sound design and stage management were by Galen Ramsey The cast, in order of appearance, was as follows
SARAH GOLDMAN
Linnea Todd
CHRIS
Peter Curren
BOB
Michael Guido
JOEL
Fredric Stone
Paul Rouffa, as of 12/19/89
MIRIAM
Roslyn Alexander
ABE
Bernie Landis
BEAU JEST , produced by Arthur Cantor, Carol Ostrow and Libby Adler Mages, premiered in New York at the Lambs Theatre on October 10, 1991, under the direction of Dennis Zacek The set design was by Bruce Goodrich, the costume design was by Dorothy Jones, the lighting design was by Edward R F Matthews, stage management was by Jana Llynn. The cast, in order of appearance, was as follows
SARAH GOLDMAN
Laura Patinkin
CHRIS
John Michael Higgins
BOB
Tom Hewitt
JOEL
Larry Fleischman
MIRIAM
Roslyn Alexander
ABE
Bernie Landis
ACT I
Scene 1
AT RISE. SARAH and CHRIS are sitting on the couch.
CHRIS. I love you.
SARAH. I love you, too.
( The DOORBELL rings .)
SARAH. ( Getting up .) Oh. That’ll be my date.
CHRIS. I really hate this.
SARAH. I know. I know. I’m sorry. It’s just for tonight. Will you get that for me? I’ve got to get ready. ( SHE exits to the bedroom )
CHRIS. ( HE goes to answer the door .) I hate this a lot. ( Opens door. BOB is there .)
BOB. Hi. Uh ... Is Sarah Goldman here?
CHRIS. Yeah. Come on in.
BOB. Thank you. Hi. I’m Robert Schroeder.
( HE holds out his hand CHRIS takes it and shakes .)
CHRIS. Chris Cringle.
BOB. ( Not sure HE heard right ) I’m sorry?
CHRIS. Yeah, yeah. Like Santa Claus.
BOB. Oh. Will you know if I’m naughty or nice?
CHRIS. Damn right, I will.
BOB. Is Miss Goldman ...?
CHRIS. She’s getting dressed.
BOB. Ah. Thank you.
( THEY stand for a moment .)
BOB. How ’bout those Cubs, huh?
CHRIS. Yeah.
BOB. Yeah. Well, it’s early yet.
CHRIS. Yeah.
( THEY stand for a moment .)
CHRIS. Is this legal, what you do?
BOB. Oh, absolutely. We’re licensed by the state. This isn’t like looking in the Reader and calling some twenty-four hour service. No. No. Mostly, our clientele are elderly women who need an arm to hold onto when they go to the opera or ballet or something. I went to the opera last night. “Tristan Und Isolde.” It was great. V’you ever seen it?
CHRIS. Can’t say as I have.
BOB. Oh, well, it was great. Long, but, you know, great.
CHRIS. You do this a lot?
BOB. Well, let’s see ... Counting last night at the opera ... This is my ... second job.
CHRIS. Oh. Was this a major career move for you?
BOB. Hmm? No. No, this is just something to fill in. A buddy of mine has been doing it for awhile. He got me into the agency. The only requirements are, “Do you speak good English?” and “Do you own a tux?” And you get to go out with a lot of nice ladies. Beats waiting tables.
CHRIS. Oh. So you’re an actor.
BOB. ( Chuckling ) Heh. Yeah. Yeah, that’s very good. Yeah, I’m an actor.
CHRIS. Have I seen you in any movies?
BOB. I don’t know. Where do you usually sit?
( BOB laughs. CHRIS doesn’t .) Sorry. It’s an old joke. No, I do theatre mostly. Have you ever been to Candlelight Playhouse?
CHRIS. I saw, whadyacallit, “Follies” there.
BOB. Oh, well ... I wasn’t in that one. But I work there every so often. Sometimes I go out on the road. That’s why this job is so good. I can work my own schedule and all that.
CHRIS. Good for you.
BOB. Thanks, yeah. What do you do?
CHRIS. I’m in advertising. Leo Burnett.
BOB. Oh. What department?
CHRIS. I’m an account supervisor.
BOB. Oh. Great. Well ...
SARAH. ( Enters .) Hi. Sorry to keep you waiting. ( To Bob, holding out her hand. )
The play was developed as part of the Michael and
Marianne O’Shaughnessy Playwright
Development Fund.
BEAU JEST premiered at the Victory Gardens Theater on November 16, 1989, under the direction of Dennis Zacek The set design was by Stephen Packard, the costume design was by Jessica Hahn, the lighting design was by Larry Schoeneman, the sound design and stage management were by Galen Ramsey The cast, in order of appearance, was as follows
SARAH GOLDMAN
Linnea Todd
CHRIS
Peter Curren
BOB
Michael Guido
JOEL
Fredric Stone
Paul Rouffa, as of 12/19/89
MIRIAM
Roslyn Alexander
ABE
Bernie Landis
BEAU JEST , produced by Arthur Cantor, Carol Ostrow and Libby Adler Mages, premiered in New York at the Lambs Theatre on October 10, 1991, under the direction of Dennis Zacek The set design was by Bruce Goodrich, the costume design was by Dorothy Jones, the lighting design was by Edward R F Matthews, stage management was by Jana Llynn. The cast, in order of appearance, was as follows
SARAH GOLDMAN
Laura Patinkin
CHRIS
John Michael Higgins
BOB
Tom Hewitt
JOEL
Larry Fleischman
MIRIAM
Roslyn Alexander
ABE
Bernie Landis
ACT I
Scene 1
AT RISE. SARAH and CHRIS are sitting on the couch.
CHRIS. I love you.
SARAH. I love you, too.
( The DOORBELL rings .)
SARAH. ( Getting up .) Oh. That’ll be my date.
CHRIS. I really hate this.
SARAH. I know. I know. I’m sorry. It’s just for tonight. Will you get that for me? I’ve got to get ready. ( SHE exits to the bedroom )
CHRIS. ( HE goes to answer the door .) I hate this a lot. ( Opens door. BOB is there .)
BOB. Hi. Uh ... Is Sarah Goldman here?
CHRIS. Yeah. Come on in.
BOB. Thank you. Hi. I’m Robert Schroeder.
( HE holds out his hand CHRIS takes it and shakes .)
CHRIS. Chris Cringle.
BOB. ( Not sure HE heard right ) I’m sorry?
CHRIS. Yeah, yeah. Like Santa Claus.
BOB. Oh. Will you know if I’m naughty or nice?
CHRIS. Damn right, I will.
BOB. Is Miss Goldman ...?
CHRIS. She’s getting dressed.
BOB. Ah. Thank you.
( THEY stand for a moment .)
BOB. How ’bout those Cubs, huh?
CHRIS. Yeah.
BOB. Yeah. Well, it’s early yet.
CHRIS. Yeah.
( THEY stand for a moment .)
CHRIS. Is this legal, what you do?
BOB. Oh, absolutely. We’re licensed by the state. This isn’t like looking in the Reader and calling some twenty-four hour service. No. No. Mostly, our clientele are elderly women who need an arm to hold onto when they go to the opera or ballet or something. I went to the opera last night. “Tristan Und Isolde.” It was great. V’you ever seen it?
CHRIS. Can’t say as I have.
BOB. Oh, well, it was great. Long, but, you know, great.
CHRIS. You do this a lot?
BOB. Well, let’s see ... Counting last night at the opera ... This is my ... second job.
CHRIS. Oh. Was this a major career move for you?
BOB. Hmm? No. No, this is just something to fill in. A buddy of mine has been doing it for awhile. He got me into the agency. The only requirements are, “Do you speak good English?” and “Do you own a tux?” And you get to go out with a lot of nice ladies. Beats waiting tables.
CHRIS. Oh. So you’re an actor.
BOB. ( Chuckling ) Heh. Yeah. Yeah, that’s very good. Yeah, I’m an actor.
CHRIS. Have I seen you in any movies?
BOB. I don’t know. Where do you usually sit?
( BOB laughs. CHRIS doesn’t .) Sorry. It’s an old joke. No, I do theatre mostly. Have you ever been to Candlelight Playhouse?
CHRIS. I saw, whadyacallit, “Follies” there.
BOB. Oh, well ... I wasn’t in that one. But I work there every so often. Sometimes I go out on the road. That’s why this job is so good. I can work my own schedule and all that.
CHRIS. Good for you.
BOB. Thanks, yeah. What do you do?
CHRIS. I’m in advertising. Leo Burnett.
BOB. Oh. What department?
CHRIS. I’m an account supervisor.
BOB. Oh. Great. Well ...
SARAH. ( Enters .) Hi. Sorry to keep you waiting. ( To Bob, holding out her hand. )
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