"Waiting for Sami: A play written in Eight Scenes" by Samanta Cubias

Waiting for Sami

A play written in Eight Scenes

The author.

Place: Ireland, 2011

Characters:

SAMI, 20

FATHER, 50

IRELAND

FEAR

UNCERTAINTY

ABBEY THEATRE

KILLARNEY NATIONAL FORREST

HORSE AND CARRIAGE MAN

GENERAL POST OFFICE

ARAN ISLANDS

Note: All productions of Waiting for Sami MUST adhere to the stage directions provided. Failure to do so will result in legal action by the Cubias Estate.

SCENE 1

Berkeley, CA: A crowded restaurant. Evening, the night before SAMI is scheduled to fly to Dublin. This is her farewell dinner. SAMI sits in booth, huddled very close to FATHER. SAMI sits in silence for a few moments, pensive.

SAMI: It’s too late for you to buy a ticket and come with me, right?

FATHER: Yes. Eat your food.

SAMI: I’m nervous. I’m getting the pit in my stomach. It’s the same way I feel the night before the first day of school. Or the way I feel when the dentist asks me if I’ve been flossing enough.

FATHER: You’ll be fine.

SAMI: I don’t know. It’s so far. And it’s going to be so different. And I haven’t been outside the country without you and my mom or anyone else from the family. I’ve seen Ireland on a map, and I’ve seen pictures of it, but it’s a whole other thing to actually be there! It’s across the world! They drive on the left! The toilets probably flush the other way! It’s going to be so different.

FATHER: They don’t drive on the left side. The UK does.

SAMI: Are you sure? I’m pretty sure they do.

FATHER: No, they don’t. You’ll be fine. Eat your food.

 FEAR and UNCERTAINTY enter. Both commence to punch SAMI in the stomach, making it impossible for her to enjoy her last meal at home.

SCENE 2

Dublin: Twenty-four hours later. SAMI arrives in airport. She is exhausted, having only eaten airplane food in the last 12 hours.

IRELAND: Yo! Samizzle! What’s up?!!? Good morning!

SAMI: Ireland! What the heck. Why is it nine in the morning here? Why don’t you have signs that say “Exit” instead of little pictures with tiny people running into a door? Why is it raining outside in the middle of June?!

IRELAND: Hey kid, deal with it. You’re gonna be here for a while.

FEAR and UNCERTAINTY have now managed to pin SAMI in a submission hold. SAMI, who has had only one hour of sleep, refuses to fight back.

SCENE 3

Dublin. ABBEY THEATRE enters.

ABBEY THEATRE: Hey, Sami! What you up to?

SAMI: Hey, Abbey Theatre! I’m about to see Pygmalion. I’m pretty excited. I’ve never seen a professional production in such a historic theatre before.

ABBEY THEATRE: Sweet! I’m pretty excited to have you here. Of all the people who have visited me in the past 100 or so years, you’re probably one of the coolest.

SAMI: Whoa. You’ve been around for over 100 years. I didn’t know that Ireland had such an extensive history in performing arts. 

ABBEY THEATRE: Extensive indeed. I came about as a result of the Irish Literary Revival, which developed in tandem with growing Irish language revival and the solidification of modern Irish nationalism. I was founded by W.B. Yeats and Lady Gregory. I’m considered Ireland’s National Theatre. 

SAMI: Nice! So, do you ever hang out with The Gate Theatre? You know, the other well-known theatre in Dublin?

ABBEY THEATRE: Pshh. Please. That fool wishes it could be like me, but there can only be ONE national theatre. That’s me!

SAMI: Oh. Forgive me for asking. Hey, the performance is about to start. I will see you soon!

ABBEY THEATRE: Enjoy!

SCENE 4

Dublin. ABBEY THEATRE enters. SAMI has finished watching the performance of Pygmalion.

SAMI: Wow! That was amazing! I have never seen such a beautiful production! The set! The lights! The music! The acting!

ABBEY THEATRE: I’m glad you enjoyed it!

SAMI: Enjoyed it?! I nearly died of joy in my seat. I didn’t know that theatre like this existed in Ireland. I thought that there was New York, London, and the Bay Area. That’s it!

ABBEY THEATRE: Well, consider yourself proven wrong! There are tons of theatres in the immediate Dublin area, including the Project Arts Centre, the New Theatre, and…don’t tell anyone I said this, but the Gate Theatre isn’t half bad.

SAMI: I will definitely have to check those theatres out. So, I’ve heard that this is the first time you’ve done Pygmalion.

ABBEY THEATRE: That’s right! It’s a play about formulating an identity through the utilization of language.

SAMI: Much like the national Irish identity is comprised, in part, by the use of the Irish language. Of course, Pygmalion puts a humorous twist on the notion if identity formation. I must say, the overall quality of the production definitely stemmed from the fantastic acting.

ABBEY THEATRE: We hire the finest Irish actors on the scene—you can see many of them playing multiple roles throughout the season!

SAMI: Fine actors, indeed! It goes to show that actors who lack formal training can produce amazing work! Thanks for having me, Abbey Theatre! It’s been a blast!

ABBEY THEATRE: No problem, Sami! Cheers!

SCENE 5

Killarney, Ireland. Roughly 250 kilometers from Dublin. Two weeks after Scene 4. SAMI finds herself at the KILLARNEY NATIONAL FORREST. She sits on a patch of grass.

SAMI: You’re beautiful.

FORREST: Thanks, Sami. Did you see the amazing wildlife, my scenic trails, and the bright blue sky? You don’t get this kind of nature in Dublin, that’s for sure! What about the horse and carriages? Did you see them? Eh? Eh? Pretty impressive, huh?

SAMI: I saw it all! I feel so privileged to be here! It sounds corny, but I do wish that everyone I know had a chance to experience something like this. I can’t help but to think of my fellow students and friends who don’t get to travel abroad because if they do, they won’t be able to get back in the US. Seeing all of this makes me see how unfair the entire situation is—they’re students too—they’re humans! Their legal status shouldn’t keep them from experiencing this. I’m happy here. I want to share it with people I care about.

Enter HORSE AND CARRIAGE MAN.

HORSE AND CARRIAGE MAN: Would you like a lift? 5 Euro!

SAMI: No thank you. I’m okay for right now.

HORSE AND CARRIAGE MAN: Very well then… Are you sure?

SAMI: I’m sure!

FORREST: Horse and Carriage Man, leave her alone. She’s enjoying the sunshine that doesn’t exist in Dublin!

HORSE AND CARRIAGE MAN: Fine! Fine! … 4 Euro?

FORREST: Horse and Carriage Man!

HORSE AND CARRIAGE MAN: Okay, okay. I’m done. Have a good afternoon. He exits.

SAMI: Thanks, Killarney National Forrest.

FORREST: No problem, Sami.

KILLARNEY NATIONAL FORREST continues to bathe SAMI in sunlight, and a cool breeze. SAMI continues in deep thought.

SCENE 6

Dublin, a few days after SAMI returns from KILLARNEY NATIONAL FORREST. Standing on O’Connell Street, SAMI speaks with the GENERAL POST OFFICE.

SAMI: Hey post office, are you feeling religious today?

GENERAL POST OFFICE: What?

SAMI: Cause you’re holey! Get it? You have holes in you? Holey, as in ‘Holy” as in religi— never mind.

GENERAL POST OFFICE: Not funny, Sami. Have any idea where these holes are from?

SAMI: Oh. Sorry. No, please explain.

GENERAL POST OFFICE: The 1916 Easter Rising Rebellion! Shots were fired into me, as the Irish Republicans hid from British soldiers.  It was the most significant uprising in Ireland since the Irish Rebellion of 1798! Many civilians, including some children, died during the rising, and all for the cause of establishing an independent Irish republic, free of British colonial rule.

SAMI: I never knew about this. Sorry for making the joke. Really. Wow, this is really mind opening. Ireland had to fight off its colonizers? I knew these sorts of things happened in places like Latin America and in the US, but I never knew that Ireland shared in the struggle. I’m starting to understand the strong sense of nationalism in this country. It stems from centuries of oppression and struggles for independence.

GENERAL POST OFFICE: Good observation, Sami. You learn something new every day. Hey, Knock Knock.

SAMI: Who’s there?

GENERAL POST OFFICE: Interrupting Cow.

SAMI: Interrupting co—

GENERAL POST OFFICE: Moo!

SCENE 7

Aran Islands, Ireland. It is raining. Not sweet, gentle Dublin rain, but hardcore, buckets-of-water-in-your-pretty-little-face rain. SAMI stands in the middle of her room in a hostel, as the ARAN ISLANDS look on.

ARAN ISLANDS: Sami, your shoes are a little wet.

SAMI: Yeah, I know.

ARAN ISLANDS: Your pants are too. And you have a little water in your backpack--

SAMI: I know, Aran Islands!

ARAN ISLANDS: Aw, geeze sorry, Sami. But think about it: people have been living here for centuries, and they’ve survived the rain. You’ll be fine.

SAMI: I guess so. And I can tell that people have been here for a long time. We stopped by a cemetery on our bus tour—some of those headstones looked ancient! And the low-lying stonewalls have been here forever as well!

ARAN ISLANDS: The people here take pride in their Irish roots. Many people on the islands still speak in Irish!

SAMI: It’s amazing to think about being able to preserve one’s culture for so long. At times, I worry that being born in the US means that I will lose my parent’s culture and traditions as the years go by. I’d really hate for that to happen.

ARAN ISLANDS: What else did you notice in the cemetery, Sami?

SAMI: There were really old tombstones, but then there were also really new ones, dated as recent as 2010. The people in these places don’t forget their history; they live alongside it, and when the time comes, rest for eternity alongside it too. They don’t forget their history, because it has made them who they are. It’s cool to think that Ireland can be so modern, and still hold on to its roots like that. I’d like to think that I could live like that, alongside my history.

ARAN ISLANDS: I think you can. Um, Sami, you have a little water dripping from your forehead.

SAMI: Oh, that. It’s sweat. It was a long walk up to the hostel.

SCENE 8

Dublin. The final days of studying abroad in IRELAND.  SAMI walks outside, dressed in a skirt and sandals, since the sun has finally come out after weeks of rain. Within a few seconds, it begins to pour rain, and SAMI comes to a standstill.

SAMI: Dude, Ireland, what the heck?

IRELAND: Sami, really. What else do you expect? Think about it: you’ve spent weeks here, learning about theatre, experiencing new places, meeting new people and doing things you’d never thought you would do! Are you going to let a little rain get in your way?  Be happy that you’re here! Go with the flow. If life gives you fish, find somebody with chips, and have a party!

SAMI: Ireland! Why do you always have to rid me of my negative energies?! Ugh. Fine. I’ll be happy. But not for you—I still think you’re weird. I still don’t understand why you can’t drive on the right side.

IRELAND: Sami, shut up and dance. You’ve always wanted to be in a musical number onstage, I know that.

SAMI: Oh, Ireland. You know me well. Thank you for everything. Thank you.

SAMI pulls out an umbrella from her purse, and begins to dance in the rain. An Irish rendition of “Singing in the Rain” begins to play, as the characters from throughout the play come out to say goodbye to SAMI. First, the ABBEY THEATRE and the KILLARNEY NATIONAL FORREST join SAMI in dancing, followed by the GENERAL POST OFFICE and the ARAN ISLANDS, who both pick SAMI up and lift her onto their shoulders. HORSE AND CARRIAGE MAN rides through the background, waving goodbye to SAMI as well. FEAR and UNCERTAINTY try to make their way to SAMI, but before they can reach her, ABBEY THEATRE and KILLARNEY NATIONAL FORREST manage to tackle them to the ground, much as they did to SAMI before. SAMI laughs and cheers. Finally, IRELAND brings SAMI back down to the ground, before giving her a final hug goodbye. IRELAND leaves, and SAMI is left standing alone for a second, as the song ends. After a moment of silence, FATHER makes his way back in.

FATHER: Welcome home!

SAMI: Daddy, I’ve missed you! I have so much to tell you.

FATHER: Well, tell me.

SAMI:  Yes of course! Where to start? Well, I guess I’ll start by saying that I’ve seen Ireland on a map, and I’ve seen pictures of it, but it’s a whole other thing to actually be there. 

 Black.

"Into the West: Galway and the Aran Islands" by Cari Wieland

I have had the absolutely soggiest day of my life.  So basically, this week (on Wednesday) we left Dublin for Galway which is on the west coast of Ireland.  Galway is still pretty much a city, though small and touristy, it's very cute and has all the creature comforts within walking distance.

The West of Ireland- fields, green and sheep.

Dublin to Galway: Kunze makes the wait in the bus queue a bit more musical.

Cards- always a good idea.  

Gwen Kingston and Theresa Nguyen stay friends despite being bitter card rivals.  :) 

Betty Lin and Genea Whitman warm Charlotte's heart by using their wait to do their homework!

Maryam Bordbari, Rosa Navarette, and Hamilton Guillen remain all smiles even in a bus queue!

Today we left Galway for Inishmore, one of the Aran Islands off the west coast.  We took an hour-ish bus ride from Galway and then an hour-ish ferry ride across the choppy but gorgeously grey Atlantic.  The ferry was phenomenal since I don't get seasick!  I thought it was great but some people were looking a little green.  The ferry had lots of seats below deck, but I spent most of the ride on the back deck, huddled in my hoodie, working on getting my sea legs and staring at nothing but water all around us.  I heart the sea!!!

We disembarked the ferry into absolutely pouring rain and driving winds like you can only get on an island (or in Suisun).  We were looking at a mile-ish walk uphill to our hostel with all of our luggage in tow.  Half of us (not me, alas) ended up on a very nice tourist-y van that offered to take the passengers up the hill.  Our teacher approached another van to see if he would take the other half of us and he refused because we weren't taking his tour of the island.  (To be fair, these were specifically tour vans that make laps around the island and give info to the tourists, but it would have been, a) very nice and, b) approximately five minutes out of his life, for which we would gladly have paid him.)  As he declined this proposition, we soldiered up and set out on already soggy feet for our hostel.

The walk felt like it took forever, though time does have a funny way of stretching out when one is growing wetter by the minute, trying to juggle an umbrella, a backpack, a purse, and a reusable grocery bag full of toiletries uphill, on a narrow road, in a torrential downpour.

We did eventually make it to the hostel and were greeted by a round of applause from the bus riders.  (Not fair! They were warm and dry, though had I been quicker on the draw, you bet your sweet bippy I would've been on that bus too.)

After we got settled and dried off, we promptly set off again for our next adventure, a bus tour around the island (hopefully not driven by the punk who refused us down at the bottom of the hill!).  The first stop was the Seven Churches (Na Seacht dTeampaill) and then up to a super old ring fort, Dun Aonghasa, at the top of some of the most breathtaking cliffs in the world.  There was a significant walk involved in getting up to the fort, but the view was AMAZING, and that doesn't even begin to cover it, really.  The ring fort is made all out of stones, like most everything else in Ireland.  It's incredible how long it lasts considering how low tech it is.  And you could go right up to the cliffs' edge and it was nothing but a sheer granite drop into the sea, soooo far down. This fort is called the "last parish before New York."  

Seven Churches

Near some of the older graves.

Samanta Cubias, Theresa Nguyen, Genea Whitman, Maryam Bordbari,
Betty Lin, Megan Sweeney and Devon Roe. 

Our first stop was when we tramped around a graveyard at a spot called Seven Churches which were put up in the 8th century by some Romans who came over and set up camp.  Their graves, plus that of Thomas the Abbot were all in one corner of the graveyard, gravestones and all.  They had crosses and Celtic knots carved into them, though they're barely discernible after so much time in the harsh weather.  But graves from the EIGHTH CENTURY and people actually still know who they belong to!!!  The history here is incredible, it just make you speechless.  

So we were all wet to begin with, but after frolicking around at the top of Dun Aonghasa, we were soaked to the bone.  The wind up there was so strong the rain stung like hail, and people were literally being pushed around by it.  You could truly lean into it and be held up for a moment.  It was bizarre and terrifying because there were no guard rails or anything at the top of the cliff, and the granite we were standing on was slick with the ever-present rain.  

Gwen Kingston and Michael Kunze reenact Titanic. 

Charlotte and Lura survived, and relax for a minute in their quest
to insure they don't lose any students over the edge of the cliff. 

Damon Schoeffler takes on the wind.

The gang keeps each other literally grounded!!!

Almost blown away!

My feet were thoroughly soaked but I had my eyes on a pair of handmade woolen socks down at the gift shop.  I bought them when we made it back down and imagined the moment when I could get out of my sopping boots and into those amazing socks.

I've just put them on, and let me tell you, they're life-changing and I feel good about supporting the local economy.  Now quite tucked in at the hostel, and looking forward to our buffet dinner tonight!

Charlotte and Lura with her husband Daryl Brock at our fabulous buffet dinner.

Bernadette Bascom, Maryam Bordbari, Joaquin Ticonderoga, and Jade Laity.

Samanta, Cari (the author), Ashley McLaughlin, Megan, Michael and Lura's daughter, Phoebe.

 Our three course meal started with a gloriously warm soup and bread and then an array of main courses with plentiful vegetarian options before a fabulous ice cream desert with tea and coffee, naturally.

A perfect end to a wet and life changing day! 

Insiders' Theatre with Druid's Maureen Hughes and Tim Smith by Theresa Nguyen

In Galway, we met Maureen Hughes, the casting director who has worked with the Druid Theatre and the film, Once, as well as Tim Smith, the general manager of Druid Theatre. Not only did we get insider tips on auditioning, but also an overview of the administrators’ role in theatre, notably Irish theatre.

Our class getting ready for the talk with Maureen and Tim

Charlotte introduces Maureen and Tim

            When asked the difference between casting for film and theatre, Maureen points to the different focus on “acting muscle.” In film, the emphasis is placed on the face, particularly on the eyes. Subsequently, it is to the one’s advantage to memorize the script completely, even if it means sacrificing meaningful choices. And here’s the reason: given the nature of the audition, the camera will catch every extraneous movement. Stillness and the well-intentioned facial gestures are thus key components that a director keeps in mind (albeit subconsciously) when casting. In other words, although the director has a general idea of his cast members during the auditioning process, he makes the final cut after reviewing the clips at home. On the other hand, auditioning for the theatre is a completely different world in itself, and arguably harder than auditioning for film. In a theatre audition, the emphasis is place on both the face and body, namely a strong physical presence. A person performing in theatre must not only be able to deal with a live audience and some spontaneity, but also exude “fresh quality” for every repeated performance. In some cases, Maureen argues there is more freedom casting for film; the people in film are not required to have a stamina that will last that for two plus hours of live performance and can depend on the cinematographers for any shortcomings they may have, for example the inability to move across stage. Another aspect that differs is the tendency for productions to tour around the country or across the world. Consequently, the director has to not only consider the performer’s talent, but also his personality, and if he has the flexibility to travel and work intimately with others for the duration of the production. In other words, theatre directors endorse niceness, which will in any case ultimately serve the performer a long way for casting, networking, and any sort of collaboration processes.

Maureen and Tim bounce ideas and stories off of each other.

Tim talks about the history of the building that Druid is based in,
telling the story of this wall that has lived through the centuries. 

            The most striking characteristic of Irish theatre is the lack of training in both acting and administration. Like acting, no one is formally trained in administration and most people enter the field through apprenticeship, In fact, Tim entered the field by networking and “reading a chapter on stage management each night” when he landed his first job stage managing a play. Though he admits that often times his promotions in theatre resulted from pure luck, he was passionate and gave his best efforts, identifying hard work as a trait in great Irish theatre. Another aspect that Maureen notes about Irish theatre is its abundance of raw, natural creativity. There’s almost this relaxed approach to the rehearsal process in Irish theatre, as opposed to British theatre that overly emphasizes technical training. For instance, many directors would spend an hour getting to know the actor and have them work with improvisation during the auditioning process, rather than have the actor present a formal script. Maureen points out that “Irish actors are [also] self-sufficient” and only need a cigarette to get started in contrast to British actors who need their “usual cup of tea and endless rituals” before rehearsals. All in all, Irish actors are just as comparable to actors worldwide, despite their lack of training. Great Irish actors, as Maureen tells us, can come from the streets and still “change something in the room…and that change keeps you wanting more even after you have seen a thousand auditions that day.”

            The number one advice that Maureen gives us when dealing with competitive auditioning process was to take advantage of the Internet, most importantly YouTube. Film directors, especially, love YouTube and will not resist watching a two-minute clip from a person who wishes to get noticed during the audition. As Maureen puts it, “With innovative technology, there’s no need reason for talent to be hidden anymore.” The only thing that you need to succeed is your own initiative.*

* Another very Irish characteristic in the quest to create new and compelling work.  

A super happy Samanta Cubias and engrossed Michael Kunze.

Charlotte, Maureen and Tim.  Charlotte met Maureen for the first time in Berkeley, CA when she did a talkback with her for Cal Performances when they brought Druid's DruidSynge in 2008!

"Modern and Contemporary Irish Drama: Culture, Context, Critique" by Karlie Braufman

            Imagine this: studying the history and politics of Ireland; learning how to write theatre reviews; examining the lives of great Irish writers; listening to accomplished guest speakers; going on intellectually stimulating field trips; reading and analyzing Irish plays; seeing and discussing live theatre in Ireland; making connections between Irish and international theatre and culture.

            It sounds like a list of courses one would take to obtain an advanced degree in Irish theatre studies. However, that is actually just a sampling of what we do on a daily basis in our Irish Theatre Today class, taught by our distinguished lecturer, Dr. Charlotte McIvor. Every morning at 9:00 AM, we make the trek up five exhausting flights of stairs in the Trinity College Arts Building and sit down at our small, often broken desks. As we watch Charlotte navigate the complex technology of connecting the classroom projector to her new iPad, which she uses to show us information-packed PowerPoint presentations, we curiously await the fascinating historical timelines, enthusiastic discussions, and amusing anecdotes that are sure to stimulate our minds during today’s class.

            Maybe we will learn about the life and career of playwright Martin McDonagh, in a detailed slideshow complete with facts and pictures, to give context to his play that we read for homework. Maybe we will engage in a heated class-wide debate over the effectiveness of the unconventional acting styles in last night’s production of A Midsummer Night’s Dream at the Project Arts Centre. Maybe we will have the privilege of conversing with playwright Ursula Rani Sarma about her play Blue, as well as her journey to success in the theatre world at such a young age, which is sure to inspire the aspiring dramatists among us. Maybe we will explore the conflicts that occurred right here in Dublin during struggles for Irish independence last century, so we can recognize places where history was made as we stroll through the streets of our temporary hometown. Maybe we will look for parallels between various plays we have read and seen, and investigate the evolving roles of women, an often overlooked group, in Irish theatre. Certainly, our class conversations, in which every student (and, of course, Charlotte) is an insightful, active contributor, will take us on spontaneous tangents that surprisingly end up being just as academically valuable and enlightening as the topics we discuss as part of the syllabus’ plan.

            No matter what happens in our Irish Theatre Today class on any given day, we know that it will be fast-paced, thought-provoking, entertaining, and different from any other day of class, and that we will learn more about Irish theatre than we ever thought possible in such a short time.

Rosa Naverrete taking in Ursula Rani Sarma's artist talk. 

Dr. Fintan Walsh (Lecturer, Trinity College Dublin,  Department of Drama)
visits class to talk about queer theatre and performance in Ireland. 

The author, Karlie Braufman (far right) with Chris Felty and Ashley McLaughlin

Charlotte with Dr. Mary Trotter (Associate Professor of Theatre Research and Director of Celtic Studies, University of Wisconsin, Madison, Department of Theatre and Drama) in conversation about actresses in the early modern Irish theatre and J.M. Synge's Playboy of the Western World. 

Dr. Mary Trotter

Charlotte and Fintan