|My Brother's Keeper|
|Author||BREEZE, TONY - Other Plays by this Author - Contact Author|
|Synopsis||Chosen from 150 scripts in the Pittsburgh New Play Festival, we see two brothers who were equally talented but one went away to become a successful writer while the other, a teacher/musician, stayed home to look after the ageing father.
The play finds the writer returning to his childhood home where his dad is lying comatose after a stroke. The writer can't accept that his dad won't wake up and tempers rise as he clashes with the musician's conformist wife. At the end of the first act there is a dramatic decision to be made - the situation looks very bleak for dad so what are they going to do ? The musical brother makes the suggestion that everyone has been thinking but no-one dared to say - it would be so easy just to turn off dad's life support - but which of them would do such a thing?
In the second act the writer learns a lot of home truths about himself as he is made by his girlfriend to face up to his own position of having been an absent father when he meets the son that he hasn't seen for years.
This script has now been published in Holland and Belgium by Pieter Vink & Co.
|Cast||2f & 2m (+2 non-speaking males) (minimum 6)|
Bill Teacher in secondary school, middle class, set in ways but was musically very creative when younger
Sue His wife who is a primary teacher with pretensions of grandeur who likes everything to be just so and cannot stand the sight of Alan.
Alan Middle-aged, renegade writer and brother of Bill, who left home and is the more emotional and non-conformist of the two. He doesn’t get on with Sue.
Andrea Alan's latest girlfriend, an actress, young enough to be his daughter
Dad The bedridden father of Bill and Alan aged about seventy (non-speaking)
David Alan's seventeen-year-old son from his first marriage (non-speaking and appearing only briefly at the end)
|Production||Chosen from 150 scripts for the final round of the Pittsburgh New Play Festival, first read at The Questors Thetare, London's largest amateur theatre and later published in Holland and Belgium|
|Status||Available for performance|
|DOWNLOADS - these do not include any performance rights|
|brotherskeeper.doc||Mon, 19th Mar 2007||Buy full script||Available to print: £7.00|
|brotherskeeper1.doc||Sun, 16th Oct 2005||Free download of first act||Available to print: £0.00||Download here|
|Available on ScriptCircle: (for other licences please contact the Author)|
|Amateur Performance||Up to 600 seats. EEC Countries.||£45.00 per performance|
Having grown up in Sunderland, in the north-east of England, Tony went to Nottingham to train as a drama teacher. He taught for two years then came to a crossroads in his life when he realized that he'd spent the majority of his early years in educational establishments and was faced with another forty years of doing the same. Naively wanting to "do good for society," he decided to take a look at the world outside and enrolled in the local police force but after a few years of working shifts and seeing the gritty realities of life on the outside, he was in need of a creative outlet and began writing plays, two of which were published by New Playwrights Network of Macclesfield. Whilst still in the police he continued to to act and write and following a long career in amateur drama, at the age of forty, he was still feeling the "call of the greasepaint" when he wondered if he could follow his heart and change course again. He was working at the time as a sergeant at a Police Training Centre near Coventry and without telling his colleagues, he applied for an audition for a place on an acting course at The Poor School in London, learned two pieces by heart and after several auditions on the day, was the only one of his group to be offered a place. However, faced with the actual decision, he then felt unable to "walk through the door into the other world" due to the practicalities of teenage children, mortgage payments,steady salary, etc. Having reluctantly turned his back on a professional acting career he was forced to return to the strict militaristic world of the police training centre where keen, short-haired, young officers were marched around the Parade Ground by the drill sergeant to the strains of John Philip Sousa. With a Law Degree, Inspector's exams and many years experience under his belt, he again applied for promotion but was again turned down. Totally frustrated with his lack of career progress, he then turned for personal fulfillment to his writing and after two years of living away from home in the military-style environment, while his colleagues were out one night on a trip to the local brewery, he used the aging photocopier without permission to make some copies of his latest creation (a caring monologue about a lonely old lady talking to her dead husband called "Bill"). He was suspected by a passing Inspector and the powers-that-be informed. When challenged the next day as to what he'd been doing in the photocopier room, he thought that honesty was the best policy and told the truth, hoping for clemency. Instead, the Commandant, Vic Hopkins, due to the perceived seriousness of the transgression, had his room searched and placed him under house arrest in his bedroom for the whole day while they carried out a full investigation amongst the rest of the staff. They let him go home for the weekend, (perhaps to think about his offence) and subsequently put him before an internal disciplinary panel before sending him back to his own force in Nottingham. Tony is extremely pleased to be able to say that he later had to return to the city of Coventry to see one of his plays being performed by The Criterion Players (unfortunately not "Bill" which was performed later elsewhere). In the year 2,000 another of his scripts, "My Brother's Keeper," was chosen from 150 entries for the final round of the Pittsburgh New Play Festival and later published by Pieter Vink Publishers in Holland and Belgium. His other plays have now been performed in England, Scotland, Wales, South Africa and Australia, winning several awards for the groups who have performed them. His motto is now: "Nil illegitimae carborundum!" because, as he learned to his cost at the end of his police career, there were still one or two illegitimae about in uniforms who professed one thing publicly then bullied people in private behind office doors. However, the pen, they say, is mightier than the sword and he is hoping to be able to use one of these individuals as a template for a character in a future play about bullying in the work environment.