On one side of the stage, a young woman (Julia) and a cameraman (Brian) prepare to shoot a reality show, Battle or Go Baroque. They bicker between the brief shoots, with Julia pushing the preposterous premise of the show in increasingly histrionic terms. However, when she talks with Brian, she is scathingly critical of the whole endeavor. Meanwhile, she is constantly receiving phone calls from Mr. Winberg, who turns out to be her father, in addition to running the production company. He threatens that they are in danger of losing their jobs unless they increase their ratings for the show.
On the other side of the stage, two young women, Meryl and
Anne, sit in chairs, waiting to begin what they think is an audition. What they
don’t know is that the wait and their ensuing interactions are the reality show, something never revealed to them during the
play. Sure enough, their wait turns into back-and-forth bickering (the funniest
part of the show), but they gradually come to an understanding, rather like
Vladimir and Estragon in Waiting for
Godot. At one point their conversation veers into a discussion of
Persephone from Greek mythology. Meryl says she would not go to Hades willingly
and would “fight until I got out.”
Meanwhile, Julie is becoming more and more fed up with the cheapness and stupidity of the premise of a reality show. Finally, she tells the voice on the other end of the phone “No, no, no, I’m not doing that, Dad” — doing the bidding of her father in order to get good ratings? Is this the prerogative in the play’s title? She also pulls a pomegranate from her purse as a snack. There’s a bit about her telling her dad she broke a vase and hopes that he will keep the flowers alive.
What does all this have to do with the Persephone myth?
Probably not a whole lot, but I guess I got the idea. Meanwhile, Ann and Meryl,
still waiting for their audition to begin, surmise that “nothing happens if you
wait” and that they are “prisoners of art.” Oh, well, concludes Meryl, “I suppose
it will be worth the wait.”
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