Play #45 (Make-up #12) - One Hundred Women by Kristina Halvorson
Another little ten-minute play. This one is about roommates Kelly and Nina. They have had a good rhythm for the last two years - they're there when they need each other, but they don't get in each other's way. But lately, Kelly hasn't been around as much, since she's been seeing Christian. And Nina is finding it more and more frustrating to feel so pushed aside. It's really Nina's journey that we follow, as she's the one who gets a handful of monologues in which she gets to explain her loneliness and her search for understanding. In the end, she explains that she has a room inside herself where all the important women in her life live, and where all the versions of herself live too. And even though she wishes some other self would come to the forefront, it always seems to be the romantic. And that romantic Nina just lets those women fall away from her when a man comes along. And though she may have a more meaningful or deeper relationship with them, she always lets them go. It's a sort of false either/or that this play sets up - as if a friend having a relationship means that the friend is no longer a friend. I love the room of women within her, but I don't buy this sort of built in man-loss thing. It just seems hopelessly reductive. Still, her last monologue about the room might not be bad for a story piece. <shrug>
Another little ten-minute play. This one is about roommates Kelly and Nina. They have had a good rhythm for the last two years - they're there when they need each other, but they don't get in each other's way. But lately, Kelly hasn't been around as much, since she's been seeing Christian. And Nina is finding it more and more frustrating to feel so pushed aside. It's really Nina's journey that we follow, as she's the one who gets a handful of monologues in which she gets to explain her loneliness and her search for understanding. In the end, she explains that she has a room inside herself where all the important women in her life live, and where all the versions of herself live too. And even though she wishes some other self would come to the forefront, it always seems to be the romantic. And that romantic Nina just lets those women fall away from her when a man comes along. And though she may have a more meaningful or deeper relationship with them, she always lets them go. It's a sort of false either/or that this play sets up - as if a friend having a relationship means that the friend is no longer a friend. I love the room of women within her, but I don't buy this sort of built in man-loss thing. It just seems hopelessly reductive. Still, her last monologue about the room might not be bad for a story piece. <shrug>
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