4 Characters
2 Men. 2 Women
Simple Set

Professional Staged Reading on Theater Row, NYC.

Dudley and Fiona were once hippies seeking peace, love and understanding from the world – full of life and love together, but slowly lost their connection to it as business and materialism blinded them. Now they’re the result of lost souls trapped in materialism, narcissistic pursuits and financial devastation they fell into over 20 years of marriage together. 

Today, the Bank is coming to confiscate all of their belongings, and evict them from their opulent home in the Hamptons, NY. 

Dudley, while running is fortune 500 Madison Avenue Business, had an LSD realization, a flashback,  and he gave up his entire life of wealth to get back to something real – what that is, seems to be out of his reach. 

Fiona is devastated by the loss of her materialism, which was all she had left of her marriage and connection to her family. She’s about to lose her Minky and her Jaggy – the Jaguar she fell in love with – something that she feels understands her, a woman holding onto shallowness to avoid having to deal with her own self-neglect. She  says ” it all feels like it is the apocalypse. I finally know what it feels like to be religious”.

Bonnie-Boo, their daughter, returns home from college, a drug addict, confused and in chaos, wearing a ton of body piercings and tattoos, and is anything but the innocent child they seem to think she is, the result of long neglect from her parents who were wrapped up in material pursuits, rather than her human needs. She’s lost and has no direction. 

Enter Mr. Carnaro, a once Idealistic Archaeological PhD student, who wears a little nose ring he bought from an primitive tribe on a Archaeological dig a long time ago, and who gave up on knowledge for money. Carnaro is now a clean-cut, smooth-talking, hawkish Banker who has come to confiscate all of their “things”- Happily – but “it’s not my fault, he tells Fiona, some force outside of myself makes my hands move to take items and put them in boxes, to confiscate your lives. To Re-Coop!”

Through the process of confiscation, victimization and indifference towards their lives from the Bank, this invisible monster that is controlling all of our actions, we witness a ritual of confiscation and de-evolution masked as progress and civility, when it is nothing short of  normalized and accepted barbarism and cannibalism. The most primitive elements of humanity, fueling the most sophisticated.

Mr. Carnaro removes their humanity piece by piece, while training Bonnie-Boo to find her place within the new world order – so she doesn’t feel so abandoned and lost – working for the bank to make lots and lots of money which will eventually make all the torture being inflicted on her family, seem inconsequential.  She will adapt. This transformation is done through a powerful ritual, beginning with primitive aboriginal dancing in full War and Hunter dress, accompanied by deep forest drum music and body paint, transforming Bonnie-Boo from the lost primitive she is, into a contemporary business women ready for the kill in what we believe is a civilized culture. This is juxtaposed against Dudley’s struggle to survive, Fiona’s devastation, and the systematic confiscation of their belongings that Mr. Carnaro continues to pack up throughout the play. As their facade of protections and identity are removed, what remains are destroyed human beings in a disparate and dystopian primality.  

Their actions seem to be controlled by outside forces, making them behave in ways they do not want, but feel compelled to do. They fear “the outside” where primitive creatures lurk now, and want to eat them, because they had to give  up their landscaping service. Yet Fiona, fed up with the travesty going on, leaves for a breath of air, only to be thrown back into the house through the large open window, beaten up, as if she escaped the claws of a violent animal trying to eat her on her walk. Dudley too, trying to save her from the beasts in the woods, is thrust back into the house cut up and devastated. We never know who the monster is outside – or is it just that the protections we’ve created, only hide that monster? Or is it the bankers who want everything, ravenously eating away at the very fabric of humanity, towards accumulation of stuff?! 

During the confiscation, Mr. Carnaro finds a small lamp with a peculiar lamp shade and a very uncommon texture. Something he never felt before, like… “babies skin”. Dudley found it in an antique shop while on a business trip in Germany – a relic from World War II and Dudley begs him not to take it – it’s a prized possession. But Carnaro wants to keep it for last, and for himself – it will make a nice Knick-Knack in his very expensive home on the water. 

THE LAMP, is surreal examination of the de-evolution from the mask of wealth and civility we like to believe we exist within and reveals as it delves into the bare, primitive jungle of thought lingering beneath the exterior masks used to maintain destructive wealth exposing it.  The item, or the image, matters far more than the human life  beneath it.

The overwhelming primality that actually exists and that permeates and fuels our culture’s mask of civilization, while we participate in destruction of self, culture and world, is built on primal human nature, rather than our evolved human depth. We destroy one another, to profit from one another, cherishing the soft beauty of a material item, even if a baby was murdered and skinned alive, to obtain it.  

To read Excerpts from the play, click Read More below.
Note that formatting in the excerpts are not centered, and instead, left justified. 
The PDF of the the play is in correct format.

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