Waiting for the Bus
Other Plays by Ramon Delgado
Delgado, Ramon (American playwright, actor, 1937-____), “Waiting for the Bus,”
a __-minute absurdist drama in English, set at a bus stop, U.S.A., 1959,
© 1959 by Ramon Delgado;
• in Ramon Delgado’s Waiting for the Bus (New York: Bakers Plays, 1959);
• • script/rights available from Baker’s Plays, 45 West 25th Street, New York, New York 10010, U.S.A., telephone 212-255-8085, fax 212-627-7753, http://www.bakersplays.com;
• contact Dr. Ramon Delgado, Department of Theatre and Dance, Montclair State University, Upper Montclair, New Jersey, U.S.A.
Andrew (m), __, a senior citizen, the civilized man of cultural accomplishments whose vision has become blurred through lack of faith in the intangibles of life; _____ (m), __, a 1950s shoe shine boy; Edith (f), __, a senior citizen, the eternal mother, the protector and defender of the home, the family, and society.
“The bus, which runs over Andrew, demonstrates the power of Edith's vision over Andrew's. The story reaches a denouement with the death of Andrew, but the dilemma remains: Is it better to live aware of the games one plays in life, convinced that there is nothing beneath them; or is it better to accept the games as the only reality, deluding oneself with false hope?”–Baker's Plays, http://www.bakersplays.com, accessed March 29, 2008.
• Premiered at Florida Theatre Festival, U.S.A., 1959.
• “Waiting for the Bus,” by Ramon Delgado, Stetson University, Stover Theatre, March-April, 2006. “This play was one of three published one-acts by Stetson alumni, presented at a Homecoming in celebration of Stetson's one hundredth season. ‘Waiting for the Bus’ is an homage to the absurdist genre of the mid-twentieth century. It won first place from the national honorary Theta Alpha Phi in 1959, and has received professional productions in Los Angeles and Off-off-Broadway. According to the playwright, the play is ‘an allegorical, theatrical poem,’ an avant-garde piece in which an elderly couple blend into the absurd and surreal world they witness while waiting for the bus. It featured interesting character work in a presentational style, as three young actors played ancient, barely ambulatory senior citizens, and a pretty young woman from Jamaica played a 1950s shoe shine boy. Their collective physical and vocal work, coupled with the play's minimalistic scenery, was a good example of Brechtian gestus (a full-body character ‘mask’ with socioeconomic implications) that proved very moving in the end (although such an emotional response is perhaps not what Brecht would have advocated). My conceptual approach for this one accentuated a flavor of circus pantomime, which may have bolstered the 'sad clown' feeling at the end. On the Brechtian side, there was frequent breaking of theatrical illusion, especially concerning the age of characters (by having them tap dance, for example, or ‘stare into the existentialist void’ at the audience). Ramon Delgado is a distinguished playwright and professor on the faculty of Montclair State University in New Jersey. In addition to his full-length and one-act plays, he also authored an acting textbook and edited the Best Short Plays series from 1981 to 1989.“–Ken McCoy: portfolio: directing Waiting for the Bus, http://www.stetson.edu/~kmccoy/portfolio/portfolio/waiting.htm, accessed March 29, 2008.
allegory, ambulation, death, fourth wall, old age, poetry, senior citizen, theatrical illusion.