Author: August Schulenburg
Description: The play follows Terry, a notorious player, whose pursuit of a mysterious woman leads to obsession and violence. What begins as a seductive battle of the sexes deepens into a haunting parable of the way our bodies betray us.
Year Written/Copyrighted: 2008
Date Added: 6/15/2011
Content Advisory: Strong language, sexual situations, violence
Keywords: Adaptations · Philosophy · Religion and Spirituality · Small Cast Size
This play is in the following collections: FringeNYC 2008
2 Acts, 140 Minutes
1 Female, 1 Male
Read an excerpt
NOTE: Other Bodies is fully protected by copyright law and is subject to royalty. All inquiries concerning production, publication, reprinting or use of this play in any form should be addressed to firstname.lastname@example.org.
From the Author:
Other Bodies is a play about mystery, and in many ways, remains a mystery to me. The first draft was written as a one-person monologue in a burst of a few days at an arts retreat in 1999. It was called Tiresias then, and for several years languished until a film director tried to turn it into a movie.
Though that was ultimately unsuccessful, it reawakened my interest in the play, and after renaming it Other Bodies, I set to work on it again. However much progress I made, there always seemed to be one more thing that wasn't quite right, even after a successful workshop in 2007. Rewrites continued deep into the rehearsal process of the FringeNYC production, and I didn't so much finish the play as simply run out of time.
I still circle it in my mind from time to time, promising to return and get it all the way right. The first act is as good as anything I've ever written, the second act is a wild (though I hope, vital) mess. The first time I tried to write this play, I was nowhere near good enough. The second time, I got it more than half right. Will the third time be a charm, or is this jagged pill you're about to read remain its final incarnation?
This uncertainty fits the play, which rails against the inscrutable nature of our bodies and selves. Having Other Bodies ever feel 100% finished may very well be like Terry remembering Her name: by nature, always just out of reach, but right around the corner...
In the end, any production must find a way to bring Terry's fever dream to life, and deal with Terry him(her)self. Terry is in many ways a void—a charming, vital void—but with a corrosive nothing at the heart of him(her). The play may be about how we acquire what some call a soul: through love, through pain, through transformation. The final image of the play, however, makes me wonder if Terry will ever be full, or if he is some kind of anti-matter, rendering into nothing all he touches.
Don't worry, the play is also funny and when done right, as much a turn on as a terror. So go on and give it a read, knowing that Terry is waiting at the end to touch you.
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Original Production Information
Other Bodies was first presented by Flux Theatre Ensemble, as part of the New York International Fringe Festival in 2008 at CSV Cultural and Educational Center, with the following cast and credits:
Terry: Vince Nappo
The Other: Christina Shipp
Director: Heather Cohn
Set Design: Jason Paradine
Costume Design: Tiffany Clementi and Hannah Rose Peck
Light Design: Jason Paradine
Sound Design: Asa Wember
Stage Manager: Cat Adler-Josem
Dramaturg: Ingrid Nordstrom
ITN Review by Nathaniel Kressen
August Schulenburg's Other Bodies is a superb piece of theatre. One could say it is one of the most intelligent and perceptive works to have taken the indie theater stage this year, and that would still not be doing the play justice. The script examines an everyman's life in its core elements, breaks them apart, pieces them together, and just as they are about to make sense, an unexpected force shatters them worse than before. This process happens three times over.
Other Bodies begins as Terry (Vince Nappo), a successful advertising executive and notorious player, pursues his mysterious new boss (Christina Shipp). Schulenburg humorously shows his audience how adept his protagonist has become at getting what he wants from women—whether it is to go to bed with him or to buy his company's latest product. When Terry and his boss have a "friendly drink" to discuss their latest client, he calculates what topic will spark her interest. He guides the conversation, at one point even turning to the audience and saying, "Wait for it. . . wait for it. . ." before delivering the line that wins her undivided attention.
Indeed throughout the play, Terry seamlessly transitions from speaking to another character to speaking to the audience. At times, he even "steps outside" of himself to watch the action as it occurs. This device works exceptionally well during the turning point of the play—the first moment his world shatters apart.
Terry brings his boss home following a long night of drinking. After obsessing over her for weeks, simply going to bed will no longer suffice. He demands to know the secret behind her mysterious demeanor, and when she will not confess to him he grows violent. He steps outside himself and witnesses the force with which he punishes her. He later races home and blacks out. The next morning, he awakes changed into a woman's body.
This takes us approximately 20 minutes into Other Bodies, and suffice to say that by the end of the evening, this full-length play has taken more twists and turns than even this formidable beginning will lead you to imagine. And never once does it lose its audience.
Schulenburg's handiwork is staged impeccably by director Heather Cohn. She smartly avoids blackouts save for three pivotal moments in the show. Costume changes happen onstage (there is a costume rack upstage with shirts, hats, etc. to provide the simplest distinguishing elements for Shipp's numerous characters). Subtle shifts in lighting underscore the play's moments of emotional and physical transition.
Cohn's work with actors Nappo and Shipp is admirable. The script shifts so dramatically, over and over again, that its success rests squarely on the ability of the two-person cast to sell the audience on the message within the theatrics. For most of the show, both Nappo and Shipp play members of the opposite sex. Nappo is completely believable in this vein, and delivers a wonderfully nuanced multi-dimensional performance. Shipp plays a multitude of male roles, often shifting personalities from line to line, and pays utmost attention to distinguishing them from one another. This is an extremely talented cast, and Cohn uses them well in crafting the story. Nappo breaks the audience's heart several times over, and guides us through the play's twists and turns. Alternatively, we do not identify with Shipp; rather, she is forever the catalyst. Time and time again, she shatters and rebuilds the world around us. Nappo is the mirror, and Shipp is the hammer that breaks it. Both are integral to telling Schulenburg's story; I could not imagine a better pair for the text.
This play could have easily been defined by its own premise—the transformation from one body to another. It could have been caught within its own theoretical exploration of the human condition. Either of these paths would have resulted in losing some of its audience. However, Schulenburg's play never strays from the essential human need of its characters to be understood and to understand the world around them. By framing the story in this context, he is able to keep his audience invested, no matter how complex it gets.
I sincerely hope that this play receives an extended run. It is too good to end after only five performances.
reviewed at the 2008 New York International Fringe Festival