Writing Samples Joe Basile

8/3/2019 Writing Samples Joe Basile

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The absence/presence of light

© 2008 Joe Basile. All Rights Reserved.

Blackout. Joe and Eevin sit on stage in chairs. Joe is seated center stage, his seat facingdownstage right. Eevin is downstage right, her seat facing upstage. During the play, three Neos

turn three clip lights on and off to reveal Joe and Eevin throughout the play. There is a

musicality to the lights that is improvised.

Joe: In the presence of light, it was easy to understand quite simply:

Eevin: Where to enter, where to exit, how to move from A to B, from B to C.

Joe: In the absence of light, it was quite simply:

Eevin: Unclear, maybe more adventurous, but at times distorted.

Joe: In its presence, you were clearly:

Eevin: In front of me, behind me, next to me.

Joe: In its absence, we did not see each other,

Eevin: You were misrepresented, misinterpreted.

Joe: Maybe we both were misunderstood.

Eevin: It was at times, uncertain,

Joe: Uncomfortable,

Eevin: Unfamiliar,

Joe: Unforgiving.

Eevin: In its presence, it was less romantic.

All lights pause for a moment, the florescent house lights are then turned on.

Joe: But then there were no misconceptions, no overtly obvious misalliances or miscalculations.

Eevin: In its absence,

Florescent lights are then turned off, blackout.

Joe: Your presence takes over and I now reminded of the absurdity of it all.

Eevin: And in time,

Joe: In just a moment, my eyes adjust to the absence and I see it all quite simply.

End of Play.



Singled out or some lessons from years of online dating.


Joe brings an audience member on stage. They both sit on chairs on the opposite side of the

stage.

Joe: We are not close you and I – metaphorically and physically speaking. Do you agree?

Audience member answers.

We just met, right?


If I told you where I was from would you feel as if you knew me better?


Joe may or may not answer.

How about if you knew my favorite movie, play, or song? Would that make us closer?



How about if I shared the six things I couldn‟t live without?



Or even, the most private thing I‟m willing to admit? Would that help you understand moreabout me?



What if you knew if I would consider role playing out a rape fantasy with you if you asked meto? Would you know me better then?



I‟m getting closer.

Joe moves his chair closer. He puts his hand on an audience member’s knee.

Is this awkward?


How about now?




I‟m going to move away now. I feel that getting too close too soon is problematic. I want to giveyou something before I leave you. It will most likely come across as a strange. My intention forit is to be thoughtful and intriguing. But I can‟t expect you to see it that way. Sometimes our actions don‟t always match our intentions.

You can open it now if you like.

Audience member opens it or doesn’t.

Do you know what it is? One fact about me is that at the end of the day I always have anenormous amount of lint there (points to belly button). I started collecting them a few monthsago. Under it is my contact information. I don‟t care if you‟re straight or gay or somewhere in between, I don‟t care if you make over 80k or if you‟re a top or a bottom or you like to goldenshowers. I just want you to know that.

We can‟t always choose the people we want to get close to but we can always remain open to thepossibility of those who choose us. It was nice to meet you.

Joe offers his hand to shake.

End of Play.



Passing© 2005 Joe Basile. All Rights Reserved.

Joe sits with his back to the audience with wearing a wig. During the piece he applies make-up

holding a mirror, takes the wig off and wipes off the make-up and puts on a headscarf.

Joe: My grandmother would paint her eyebrows and lips on for special events- anniversaries,funerals, holidays, fancy dinners and the occasional visit to the mall. Her work included the use

of a 10-year-old brown pencil and a Maybeline lipstick in the shade of rose petal.

Thirty minutes prior to departure she would stand in the kitchen, angle her five foot five body on

the counter and apply her make up in front of the window. The natural light guiding her

application.

I‟d watch with curiosity, “Where did your eyebrows go Gramma?”

“The bombs blasted them off during the war” she answered.

“Did it hurt?”

“Yes.”

In the background, my mother voiced her distain over my Grammas choice of “fanciment” or

how she applied her make-up, “they don‟t do that no more, that‟s out of style Ma.”

“Well I‟m not going out without my eyebrows! Jesus, Mary, and Joseph.”

Upon completion, she turned to me with a permanent expression of excitement. “Do I pass?”

“Yes.”

Joe takes off wig

Gramma took her wig off when we were home. Gramma only put the wig on when anybody

besides my immediate family visited her. She would sweat under it on many summer days in the

company of the rest of my family. In the house she wore a scarf with no make up. She‟d stare in

front of the window and wait for her illness to pass.

“Are you going to the hospital again?” I asked.

“Yes.”

“Does it hurt?”

“Not as bad as when the bombs blasted my eyebrow.”

Staring out that window I think of my gramma, her fanciment, my fanciment, and if I‟d pass.

End of Play.



Let Go© 2005 Joe Basile. All Rights Reserved.

Music plays. Three Neos stand facing the audience. One moves away, writes something they

want to let go of on a piece of paper, holds it up to the audience and shreds it leaving the debris

on stage. Members of the audience are then asked to write or draw something they want to let go

of and do the same.

End of Play.



I’m Drawn To You Chicken


Regie is center stage holding a rubber chicken. When he speaks, a spotlight illuminates him. Joe

is in the audience with the house lights on, eating fried chicken.

Regie: I‟m drawn to you plastic chicken.

Your vibrant yellow and red color,

The de-feathered landscape of your body,

The quiet power you exude.

Joe: I feel the same way chicken.

You‟re so crispy and tasty,

Mmmm mmmm, so fuckin‟ finger lickin‟ good,

I can eat a whole bucket of you!

Regie: You are a reminder of how unpredictable life can be,

An indulgence that is necessary and contagious.

You‟re not a disease but a cure.

Joe: You leave a good taste on my lips chicken!

I‟d like to dip you in some gravy and potatoes.

Anyone got some bread?

„Cause I want to SMASH you in between two pieces and eat you up!

Regie: At times, you are a mask, a costume, a trap.

But you provide a deserving pathway out.

Chicken, you are laughter.

Joe: Sometimes when no one‟s looking, I like to eat you with no hands chicken and pretend I‟m

a coyote in the wild eating some fried chicken, chicken!

Regie: You are life, love, but above all, you are undeniably simple.

Joe: (With full mouth of chicken) Mmmmmm…mmmmmmm!!!

End of Play.



An Excerpt from As Real As It May Seem


Scene 3

Player

Later than earlier that day but earlier than late evening, John will walk four extra blocks to a

different train stop. This clever planning will increase his chances of getting a seat for the long

way home. His back hurts from standing all day.

Player 2

He attributes the pain to his worn out shoes and thinks aloud-

John

Why don‟t I buy new shoes?

Player 3

Considering he works at a shoe store, it is even more perplexing.

Player 2

On his way to the train he notices a dazzling window display at Bergdorf Goodman. The

window reads “Explore Distant Shores.”

Player 4

A woman lies in a boat peering out.



Mannequin

Are you close enough? Hands off the window please. You‟re marking it up with your filthy

hands. See! Now look at what you did- your fingerprints are all over.

Player 2

John takes the sleeve of his coat and wipes the finger marks.

Mannequin

You‟re just making it worse now; you‟re smearing up the whole window with your soggy coat.

John

I‟m sorry.

Mannequin

You‟re sorry about a lot of things aren‟t you? I‟m up here. What are you looking at? Stop

staring at my breasts please- you‟re not very much of a gentleman are you?

John

I…don‟t know if -

Mannequin

Cat caught your tongue? Finish your sentence.

John

Wow…err..its…ah..I don‟t know



Mannequin

Yes? What are you looking for in these windows anyway?

John

I‟m looking at you. What are you doing there…in the window, if you don‟t want people to look

at you?

Mannequin

I‟m here to create fantasy and phobia for the sophisticated professional women of the city.

You‟re blocking their view. Besides, I don‟t really have any choice in the matter thank you.

Step out of my window- you‟re scaring people away!

John

You look like this, this ah… ah… this girl that I dream about.

Mannequin

That‟s a new one. As if I‟ve never heard that one before. You‟re looking at my breasts again, I

knew these new pointed nipples would cause problems.

John

Sorry.

Mannequin

Don‟t waste your time on me. I might be sexy, perfect, and incredibly fashionable but I‟m not

available. Can you tell me what‟s going on in the next window? I‟m getting really sick of

everyone running over there.



Player 5

In the next window, mannequins are suspended from the ceiling. They‟re at a party; a woman is

surrounded by men in jester costumes. The sign says “SEEK DRAMA.”

Mannequin

You think that rowing a boat in shards of glass would be enough to get someone‟s attention?

That‟s cheap. Real cheap.

John

(With a revelatory tone) Once an editor of ladies‟ magazines and now a panjandrum of the

publishing business, Daphne secretly has a passion for splitting the midpoint of a samara and

placing it on the point of her nose.

Mannequin

What? Goodbye. Goodbye!

Scene 4

(Patty sits on her couch. Her right arm is bandaged. A knock is heard. She gets up and looks in

mirror to make sure her hair is in place. She peaks in the peep hole and opens the door trying

not to bend her elbow. It is awkward. Emilio appears. He is Mexican and carries a bag of

food.)

Patty

Emilio, hello.

Emilio

It‟s $22.50.



Patty

How are you?

(He nods and smiles.)

Patty

Emilio, it‟s hard for me to move my arms. Can you give me a moment to get cash for you?

(He nods.)

Thanks so much, my arm is killing me. You can come on in. Now where did I put my darn

purse?

Emilio

It‟s there.

Patty

You‟re so sweet, thank you hun, but you know what? I have so many darn bags! My wallet isn‟t

in that one- I don‟t think. I just love bags. I have so many; they just call to me and say “me me,

buy me, buy me now!” and how can I resist? I think I have more purses than I do underwear. I

guess you didn‟t need to know that. Hun, could you shut that door, I don‟t want to let the heat

out.

(He shuts the door)

Oh…I know where I put it. Wait one second. Hun, you know what would be so great- would

you mind terribly just taking that food out of the bag and just putting it on that table. It hurts so

much when I move my elbow. I had a work injury. That stupid doctor couldn‟t even prescribe

anything for me. You know what he said? He said take Advil or Tylenol, can you believe it? I

hate when they tell you that, as if that‟s a wonder drug or something. (To herself) Damn

computers. What have we evolved into? Just apes in front of computers!



Emilio

It‟s $22.50.

Patty

Of course. I‟m so sorry. Let me get that for you. Oh, wait where are the fried plantains? I

ordered the filet de peixe frito. It comes with rice, beans, and a choice of French fries, fried

plantains or mashed potatoes. I told Jose I wanted fried plantains. I was looking forward to

them. I‟m sorry Emilio; you‟re going to have to come back. I mean this is the third time this has

happened this month. Are you sure you don‟t have anything else?

Emilio

No. I‟m sorry.

Patty

I was really looking forward to eating those and I‟ve been waiting for over forty minutes for this

one entrée- I mean c‟mon how long does it take to fry some fucking fish! (Beat) Y‟know what?

It‟s only dinner, right? Nothing to get all in a huff about. Hun, don‟t worry- I know it‟s not your

fault. You didn‟t put the food in the bag. Did you?

Emilio

No.

Patty

Of course you didn‟t. I‟m going to let it slide this time and you know why? Because I like youEmilio. I do. I really do. It is always a joy to see you deliver my food.

(Emilio starts laughing.)



Patty

No, it is- I‟m serious now. Every time I see you- you seem so happy to see me, like I‟m a

friend. That‟s a very valuable quality to have. Not too many people possess that.

Emilio

I need to go.

Patty

Yes, you do. You know why? You are a dedicated employee. I respect that Emilio. I do, I

really do. How old are you?

Emilio

Eighteen.

Patty

Get out! No. Eighteen? For someone your age, you have this…this great aura. Are you aware

of that? You‟re very handsome and muscular for someone your age. Look at those arms- Wow!

(She grabs his hand) Your hands Emilio are so soft (she rubs them against her face). I like how

they feel on my face. So soft (Patty closes her eyes and puts his hand all over her face; she then

takes his hand and moves it down to her breast. Emilio enjoys it for a moment and then pulls his

hand away.)

Emilio

I have to go. It‟s $22.50.

Patty

Of course it is. $22.50. Do you think I‟m going to pay a dime after you tried to (whispering)

touch me there? Who do you think you are? $22.50! For what? Where are the damn plantains?

How dare you! I‟ll tell you something Emilio, if you think you can take advantage of some poor

injured overworked woman- you are wrong! All of you are so much alike it makes me sick! Get

out of here before I tell your boss to fire you!



(He runs out. She shuts the door, looks at her food.)

I can‟t eat this.

(She begins to eat.)

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Writing Samples Joe Basile