Buzz. A work of fiction inspired by the short life of Mary Ann “Buzz” Goodbody. Susan Ferrara DRAFT 1/18/14 Susan Ferrara 1509 Lexington Avenue #3A New York, NY 10029 917-­‐‑406-­‐‑7485 [email protected] ©2014 England, 1968. England during the 1970’s. A bedroom, a theatre and a graveyard. THE COMPANY BUZZ Female, Director, ages from 21 to 28 years old, British (Posh), Caucasian HAMLET Male, Actor, 30’s; British but of Guajarati descent MS. CUT Female, Costumer, 40s-­‐‑60s, British (Working Class), Caucasian MR. RIGHT/FRANCISCO/HORATIO Male, Director/Soldier, 30s-­‐‑40s, British (Posh), Caucasian MENTOR/BARNARDO Male, Artistic Director/Soldier, 40s-­‐‑70s, British (Posh), Caucasian MR. BABBLE/MARCELLUS/ACTOR Male, Set Designer/Soldier, 40s-­‐‑60s, British (Posh), Caucasian MISS SOFT/OLIVIA/CONSTANCE/OPHELIA Female, Actress (Constance/Ophelia), 30s-­‐‑40s, British, Caucasian SIDNEY Male, Gravedigger, 40s-­‐‑70s, Cockney, Caucasian (can be double cast) LEONARD Male, Gravedigger, 20s-­‐‑40s, Cockney, Caucasian (can be double cast) WORKMEN/BOARD OPERATOR/COMPANY MEMBERS Any of a combination of the above not already on stage. The camera flashes and twinkling of lights suggest a place and time other than here and now. Otherworldly. Locations can be represented through light and sound. As Buzz Goodbody’s HAMLET was staged simply, so should this play. The gravediggers, who are always present, dig the grave in the amount of time it takes to tell the story. A mind full of ideas became conversation that turned a tin shack into a theatre and created a production like no other: Buzz Goodbody’s HAMLET. Charismatic director Mary Ann ‘Buzz’ Goodbody was one of only a handful of women directing in the U.K. in the 1970’s. In 1975, she famously directed Ben Kingsley in the title role of HAMLET in a theatre converted from an old storage space. Four days after the first performance, she was dead. SCENE 1.
GRAVEDIGGERS. APRIL 12, 1975. (Midnight. An old work light snaps on illuminating a corner of the theatre. A gravedigger, Sidney, stands looking down at a small mound of earth. A crumple of paperwork in his hand. Maybe he smokes. The rest of the stage, in darkness.) SIDNEY … (After a long beat Leonard, another gravedigger, enters carrying a shovel. Smoking. Wears a fedora. Maybe.) LEONARD … (A few stars twinkle. Then a few more. Leonard nods to the small mound of earth.) Who goes there? SIDNEY Another wee bird. LEONARD Do we know her? SIDNEY No. Never heard of her. LEONARD How many have we buried? (Off stage, we hear three loud knocks on a solid, wooden door. Both gravediggers watch as Buzz jerks to a seated position with a gasp.) SIDNEY Too many to count. (The stars continue to twinkle until they become small camera flashes. The knocks become pounding. Two soldiers’ torches snap on from the back of the house and find Buzz in her bedroom. Lights out on the gravediggers.) SCENE 2.
HAMLET IN MY BEDROOM. (Lights up on Buzz, downstage.) BUZZ It’s time. BERNARDO (anxiously) WHO'ʹS THERE? (Buzz stumbles to the lip of the stage. Directs the hallucination. Urgent. The pounding becomes knocks. It’s Ms. Cut, standing outside Buzz’ locked, bedroom door. The soldiers stand in darkness, extending their lit torches as they search the stage.) MS. CUT Open the door! BUZZ Wait. FRANCISCO Nay, answer me: stand and unfold yourself. BUZZ Again. From the beginning. BERNARDO (a cry from the darkness) WHO'ʹS THERE? MS. CUT You’re late. Please. Everyone’s waiting. BUZZ The Soldiers – yes. (Buzz finds the soldiers.) FRANCISCO Nay, answer me: stand and unfold yourself. BUZZ Back of the house. BERNARDO LONG LIVE THE KING! BUZZ We’ll find you. MS. CUT Unlock the door. BUZZ You’re frightened. FRANCISCO Bernardo? BERNARDO He. (Bernardo steps in from the back of the house. Seen.) BUZZ You keep the watch. MS. CUT Stop pissing about. BUZZ It’s cold. FRANCISCO You come most carefully upon your hour. BERNARDO 'ʹTis now struck twelve; get thee to bed, Francisco. MS. CUT You can’t be late, Buzz, please! BUZZ Something’s coming. MS. CUT OPEN THIS DOOR. FRANCISCO For this relief much thanks; 'ʹtis bitter cold, And I am sick at heart. (The pounding continues.) BUZZ Now tell him -­‐‑ BERNARDO Have you had quiet guard? FRANCISCO Not a mouse stirring. BUZZ You’ve seen the king. BERNARDO Well, goodnight. MS. CUT Open this door! BUZZ No, nono. BERNARDO If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste. BUZZ We have to finish – we have to -­‐‑ (Buzz sways on her feet. A few camera flashes pop.) FRANCISCO I think I hear them. (The pounding increases. The hinges rattle. The wood cracks.) BUZZ NO. WAIT. FRANCISCO Stand, ho! Who'ʹs there? (The bedroom door lock breaks and slams against the wall. Lights out on Buzz as she collapses. Ms. Cut wails into the darkness.) MS. CUT BUUUUUUUUZZ! SCENE 3.
THE BEGINNING. 1968. (Lights twinkle and camera bulbs flash as Mr. Right leads the company across the stage in a procession. They exit. The flashes crescendo until they become one light resting on a young woman: Buzz. She wears a long, striped African dress reminiscent of a nightdress, clutches paperwork and a large purse. Lights a cigarette and stares into the audience.) BUZZ I know what I’m doing. If the room is small, I'ʹll stand. If there'ʹs a chair, I'ʹll sit. If he expects me to sit. If he waits for me to sit. I won’t move at all. (An explosion of words offstage.) HAMLET BLOODY HELL. (in a child'ʹs voice) "ʺLook mummy. Look mummy. Look at the short, brown clown, mummy."ʺ (An actor enters dressed simply; perhaps as a clown. Doesn'ʹt see Buzz.) You pasty-­‐‑faced twats. You fucking -­‐‑ I will play Richard III -­‐‑ you shiny-­‐‑faced children -­‐‑ you tiny -­‐‑ non -­‐‑ fucking -­‐‑ people -­‐‑ with your tiny sticky hands. Your ugly faces. Your fat stupid ugly faces with your stupid fat parents -­‐‑ I will play KINGS you freakish -­‐‑ tiny non-­‐‑people. You twats. You nothing, noise making, interrupting, fucking idiot CHILDREN. Talk while I'ʹm SPEAKING?!!! Oh God. God. I'ʹm in a children'ʹs show. I'ʹm in a fucking children'ʹs show. I AM A FUCKING MEMBER OF THIS COMPANY. (Sees Buzz.) Who are you? BUZZ What? HAMLET You’re one of the -­‐‑ good FUCK -­‐‑ you'ʹre one of the parents. BUZZ No. HAMLET But I saw you. You were there. BUZZ I promise I wasn’t. HAMLET You’re one of the fucking parents. BUZZ No. HAMLET You’re not – because I thought – I mean I just -­‐‑ ? BUZZ No. HAMLET It’s just. You were here and – and well -­‐‑ BUZZ Of course. HAMLET I don'ʹt always -­‐‑ I didn’t know. I’m sorry. I don'ʹt normally do -­‐‑ this. BUZZ Children'ʹs shows? HAMLET Well, not really a children’s show. BUZZ I think children should be locked in cages -­‐‑ HAMLET Pardon me? BUZZ -­‐‑ ‘til they'ʹre old enough to work. (Buzz stares intently at Hamlet.) Lord, I’m nervous. HAMLET What? BUZZ Haven’t been nervous a day in my life. Ask my brother. He’ll tell you. Give me your hand. (Buzz grasps his hand.) HAMLET What are you -­‐‑ ? BUZZ He calls me Buzz because I never stop moving. HAMLET Buzz? What? What are you doing? BUZZ Well, well, well. HAMLET You takin'ʹ the piss? (He attempts to disengage from Buzz. Fails.) BUZZ Look at you. HAMLET Fuck off. I mean it. Who are you? BUZZ "ʺHe was a man, take him for all in all, I shall not look upon his like again."ʺ (She drops his hand. Extends her own. He grasps it.) Buzz. HAMLET I — I don'ʹt — wait — what? BUZZ Mary Ann. Buzz. Buzz Goodbody. (Briskly shakes his hand.) I’m starving. Anything to eat? (The Mentor enters from his office to join Hamlet and Buzz. File folder in hand.) MENTOR What are you doing? Why are you here? HAMLET What? I’m sorry. I was about to – MENTOR You'ʹre late. You’ll miss the next show, rehearsal, the next something or other. Whatever it is you do. Off you go. (With a stammer and a nod to Buzz, Hamlet exits. Buzz stands with cigarette, lights it.) And who are you? BUZZ I'ʹm to meet John Barton. MENTOR There'ʹs no smoking here. Put that away. BUZZ You’re not John Barton. (Puts out cigarette.) MENTOR What is it you’re wearing? BUZZ What? MENTOR You’re wearing a nightdress in a public place. To a meeting with John Barton. (Mentor flips through his folder. Pauses. Stops. Stares at Buzz.) What time were you to meet – BUZZ Now. Well. Five minutes from now. MENTOR You’re early. BUZZ … MENTOR You'ʹre Buzz Goodbody. BUZZ Yes, I am. MENTOR Barton'ʹs. Man. BUZZ Yes. MENTOR There must be some mistake here. I was expecting a Buzz Goodbody. And you are saying -­‐‑ that you are -­‐‑ he? BUZZ I am. MENTOR Barton’s -­‐‑ uh -­‐‑ man. You'ʹre to assist -­‐‑ to uh – BUZZ Direct. I’m here to direct. MENTOR Nonsense. (mumbling) Good Lord, man gives me a file. Doesn'ʹt tell me whom I'ʹm to meet. (Find'ʹs Barton'ʹs notes. Reads. An awkward beat.) He’s written great deal about you. Says your work is — eh -­‐‑ your direction of "ʺNotes From The Underground"ʺ -­‐‑ BUZZ I adapted it, yes. Directed – at University. MENTOR Said it was extraordinary; that you'ʹre an extraordinary talent. An extraordinary – eh -­‐‑ director. BUZZ That'ʹs very kind, thank you. MENTOR He said it. BUZZ Right. MENTOR I'ʹve never seen your work. (Short beat.) So until this mess is sorted, you’ll be responsible to Barton. Whatever he needs. Typing, filing. Secretarial. Things of that nature. Errand running. Speak to my secretary. She’ll show you ‘round. Been here for ages. Knows everything. While you’re here, get to know the theatre, department by department. Watch them work. Talk to Barton first. Some may be a bit prickly about interruptions. In a few years – if you stay -­‐‑ he may find something else for you to do -­‐‑ You need a pen? BUZZ No. MENTOR To write this down? BUZZ No. (Buzz pulls three scripts from her bag, covered in notes, thrusts them at Mentor.) MENTOR What are these? BUZZ Hamlet. Lear. King John. MENTOR And you'ʹre giving them to me — why? BUZZ I was told I’d have a place to work. MENTOR I beg your pardon, Miss Goodbody. Surely you didn’t expect to introduce yourself and just join the company? BUZZ I’m here now. I could start. How long will it take? MENTOR What? I’m sorry. To do what? (Ms. Cut enters.) Brilliant! There you are! Come. Meet, eh – BUZZ Mary Ann Goodbody. Buzz. Hello. MENTOR Right. Meet Miss Goodbody. MS. CUT Who is she? MENTOR Barton'ʹs new girl. He’s asked her to assist us. Show her ‘round. MS. CUT Let Barton show her ‘round. MENTOR She’s just arrived. I want you to show her ‘round. MS. CUT I’m busy. I don’t have time to show her ‘round. MENTOR Just do what I tell you. (Mentor hands Ms. Cut the file folder.) MS. CUT What is this? MENTOR Her file. (Mentor exits. Ms. Cut shouts after him.) MS. CUT What am I meant to show her?! OI! What am I meant to – (mumbling) -­‐‑ lord, that man. (Ms. Cut peers at Buzz; at the file she’s been given.) You’re wearing a nightdress. BUZZ It’s not really – MS. CUT To a meeting at this theatre. How old are you? BUZZ Twenty. MS. CUT Lord. I have jumpers in my cupboard older than you. (Ms. Cut begins walking.) All right, then. Come along. Tick. Tock. Don’t have all day. I’ve work to do. (Lights up on the Company and Mr. Right, their director, as Buzz and Ms. Cut enter.) MR. RIGHT WHY must you test my PATIENCE? (Mr. Right weaves through his actors.) Did you not listen? This is not what we -­‐‑ do you not have ears? Look at your selves. What is this? This is not what we rehearsed. This is not what I want. I said to PICK IT UP. Do you not understand ENGLISH? This play is five hours long. You sorry bags of piss. FIVE. You’re – you’re rolling about on stage like -­‐‑ like – giant nothings. We rehearsed this. More speed. More. Something. Am I the only one listening to myself SPEAK? (Looks at the company; the actors on stage.) We open in three days. Three. I can'ʹt look at you. I can'ʹt. You disgust me. You'ʹre making me -­‐‑ my God — you'ʹre making me — (Mr. Right grabs his stomach and bends over, his head hanging at his knees.) (under his breath) I'ʹm going to be – oh dear God – BOARD OPERATOR All right ladies and gents. Ten minutes. Back in ten. (The Company disperses; mills about.) MS. CUT OI! You there. Mr. Wonderful. A word. (Ms. Cut grabs and adjusts Miss Soft’s costume as she passes.) Stand still. You’ve got the buttons all wrong. (Miss Soft exits.) Your man sent me. MR. RIGHT I’m rehearsing. Who is this? MS. CUT Barton'ʹs girl. MR. RIGHT I don’t need a girl. MS. CUT Your man says she'ʹs to sit in. MR. RIGHT Absolutely not. MS. CUT Shall I tell him you refused? MR. RIGHT What does she do? BUZZ I'ʹm a director. MS. CUT Well done. MR. RIGHT Piss off. MS. CUT Right. (Ms. Cut moves to exit.) MR. RIGHT No, no, no. Listen. Eh. Before you go -­‐‑ I meant to ask you. (Mr. Right pulls Ms. Cut aside.) MS. CUT Please don’t. MR. RIGHT But I’m not -­‐‑ just tell me. You’ve seen this. A few run-­‐‑throughs. Do you think it'ʹs -­‐‑ I'ʹm asking — (in a whisper) do you think it'ʹs any good? MS. CUT MR. RIGHT You want me – Yes. MS. CUT MR. RIGHT To tell you. Right. MS. CUT Whether your show is any good? MR. RIGHT YES. You saw them! This is what I have to work with! MS. CUT They'ʹre perfectly fine. MR. RIGHT Then tell me. MS. CUT … MR. RIGHT … MS. CUT It’s rubbish. You have them running about. All tarted up. I can'ʹt understand them. This one mumbles (points) and that one (points) is so far up stage, I can barely see her. I’ve absolutely no idea what it is. And why are they all shouting? I mean, honestly. It’s a mess. (Short beat.) There'ʹs a hole in your trousers. Bring them 'ʹround. I'ʹll mend them. (Mr. Right checks his trousers. Ms. Cut exits and is gone.) BUZZ What have you done? MR. RIGHT What? BUZZ With the play. Let me see it. MR. RIGHT Who are you? BUZZ Barton sent me. MR. RIGHT I don’t care who sent you. Fuck off and sit. Don’t say another word. (Buzz sits.) ON YOUR FEET. Break is over. BOARD OPERATOR You heard the man. BACK TO WORK. (The Company takes their places. Lights out.) SCENE 4.
THE GRAVEYARD. APRIL 12, 1975. (A few lights twinkle as a work light snaps on. Sidney and Leonard stand looking back at the scene that just ended.) LEONARD What ever happened to the fat fella? Jolly fella? SIDNEY The fat one? Oh dead. Dead. LEONARD Bloody hell. SIDNEY Yeah. LEONARD Fuck. Off. Jus'ʹ saw'ʹim! SIDNEY Died in'ʹ59. Give me -­‐‑ (Snaps his fingers for the shovel.) LEONARD The ginger fella? SIDNEY Wun'ʹt ginger. Give me the shovel -­‐‑ LEONARD But the fat fella — SIDNEY Right. Dead. The shovel. LEONARD What year is this? SIDNEY 'ʹ75. LEONARD 20 Century? th
SIDNEY Eh (counting) — yeah. 1975. Len – (snaps for the shovel). LEONARD What'ʹs this one make? SIDNEY The wee bird? Well, let’s see – there was – uh -­‐‑ Duse in'ʹ24. LEONARD No, no. That’s not what -­‐‑ hold off. SIDNEY Siddons in -­‐‑ in – uh – what was it? LEONARD (under his breath) Fucking hell. SIDNEY Uh – uh -­‐‑ I just had it. LEONARD June 8, 1831. SIDNEY June 8th? LEONARD 1831. Had a cold that day. Never get sick. Sid -­‐‑ SIDNEY All right. (Short beat.) There was Booth. LEONARD I hate when you do this. SIDNEY All them Booths. LEONARD Right. Right. Sid. SIDNEY This is important now. Brecht in 'ʹ56. Uh -­‐‑ Shaw in 'ʹ50. LEONARD Sidney. SIDNEY Garrick in — LEONARD 1779. SIDNEY Right. Reinhardt in 'ʹ43. LEONARD SIDNEY. SIDNEY Eh? LEONARD I wanna know about the fat fella; jolly fella. Tells a good story. SIDNEY Don’t know ‘im. LEONARD You takin'ʹ the piss? SIDNEY No. Give me the shovel. LEONARD What about her (nods at the mound of earth)? SIDNEY Dunno. LEONARD “Dunno”? What’s the work order say? (Sidney pulls the work order out of his pocket. Unfolds it. Reads.) SIDNEY Uhhhhh. Wee bird. Twenty-­‐‑eight. LEONARD That’s it? SIDNEY Yeah. Wee bird. Twenty-­‐‑eight. LEONARD Oh fuck off. Says more than that. SIDNEY All right. LEONARD What’s ‘er name? SIDNEY Uh -­‐‑ LEONARD It’s on the bloody work order. (Sidney unfolds and again reads the work order.) What’d she do? How long she do it? Where was she born? SIDNEY Right. Right. LEONARD You just read it. SIDNEY All right. LEONARD Give me. (Leonard snatches the work order from Sidney. A few lights twinkle. Lights out.) SCENE 5.
WAITING. (Lights up on Buzz and the Mentor. Walking. The stage is alive with sound and movement. Shouting. Sweeping. Actors preparing. The Board Operator is in a booth off stage.) BUZZ Ironing shirts; typing letters. Running errands. I came here to direct. MENTOR You’re a lousy typist. You’ll have King John. BUZZ Yes, yes, yes. King John. Thank you. One play to direct. What else? MENTOR Perhaps you could organize a little scene study – work with the actors. You’d be a brilliant – BUZZ Teacher? MENTOR You could go back to University. BUZZ I’m assisting everyone. Everyone. MENTOR I gave you a place in this company. BUZZ Watching. I don’t want to go back to University. MENTOR These things take time. BUZZ Four years? Six years? How long? MENTOR You’ve been given more than most. BUZZ More than most what?