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Collected Plays: Vol I by David Hare

Collected Plays: Vol II by David Hare

Kyra has just arrived home from shopping when someone bangs on the outer door for entrance. It is Edward Sergeant. He apologizes for coming after not seeing her for so long and quickly announces that he is there on his father's behalf. He wants Kyra to see his father because their relationship is very strained after his mother's death and he believes that Kyra is the only one who might straighten his father out. Edward and his father have argued and Edward moved out. Kyra is somewhat shocked by his request and Edward leaves without much of a commitment of help from Kyra. She admits how much she misses the grand breakfasts she had with Tom when they were together.

A couple of hours later, Tom also arrives at Kyra's apartment. He isn't aware that Edward had been by earlier. Their meeting is awkward. It's obvious they haven't seen each other in some time. One of the first things Tom tells Kyra is that his wife Alice died. He wonders if she knew. She did, but she doesn't say that Edward told her. Tom makes himself a drink, trying to make himself comfortable in Kyra's apartment.

Kyra is making dinner. Tom asks if he can send his driver out for food instead of Kyra's meager supper. Kyra gets upset knowing that Tom left his driver waiting out in the cold and orders him to send the driver home. Tom argues briefly that his driver doesn't mind waiting because it's part of the job but he soon does as Kyra wishes and sends him home.

As Kyra prepares dinner we learn that she and Tom were lovers when Tom was still married. She started out as one of his employees but soon came to live with him and his wife--then they grew to become lovers. Both Kyra and Tom remember how happy they were in those days and how much they both loved his wife who didn't know the full extent of their relationship. Kyra left Tom when his wife found out about their relationship and they haven't seen each other since.

Kyra and tom admit how much they miss each other. Their remembrances soon turn to embraces and they exit to the bedroom. Kyra turns the lights out as they go and we have an intermission between acts.

After a while, Kyra re-enters and works on grading the school papers she has due the next day. Tom laughs that he could move in to her tiny cold apartment just so he could be near her. Soon, his jokes make her think he is belittling the way she chooses to lead her life these days.

Tom says that Kyra lives in poverty like this to punish herself for what happened between them. Kyra strikes back by saying it was Tom's fault they broke up because he deliberately left their love letters where his wife could find them.

Without either of them saying it was over, Tom goes to the bedroom to finish dressing and Kyra calls him a taxi. They're terribly kind to each other in the minutes before the taxi arrives but both know there is no chance for reconciliation. They were both wrong. They love each other, but there is no way it can work.

The next morning, Edward comes to see Kyra without knowing his father was there the night before. He brings her an elaborate breakfast--the kind she says she misses from when she was with Tom.

Tom comes to visit Kyra after Edward leaves

Kyra insists that Tom let his driver go home

Tom and Kyra choose to make love

Tom makes fun of the way Kyra lives her life

Kyra says Tom is manipulative and childish

Actors should love this play. Kyra and Tom are really great parts for middle-aged actors and Tom is a great opportunity for a college-aged actor who's just starting out.

The bulk of the work on the play is on the parts of Tom and Kyra who spend almost the entire time on stage together. They get to show an incredible range of emotion and chemistry not always found in parts for people that age.

Technically it's not a very demanding play with just one set and limited sound cues. Design is important in that you want the set to reflect not only Kyra's personality but also the nature of their relationship.

The only possible weakness in the script is in the ending. There really is no good ending for these two people even though they want very much to get together and the audience would love for them to be together there just isn't any way to do it and remain true to the situation as set up by Hare.

The structure of the play is more musical or atmospheric and character driven rather than plot driven. It's brilliant in its execution as such but might be frustrating for people who like their drama to end tied up in a neat bow.

Designers should have fun with this show because it is so atmospheric. Lighting designers and sound designers especially could add a great deal to the overall impact of the play.

I don't know how actors could get through the script without using some form of the method. It would be exhilarating for them when it goes well but also very tiring night after night because of its intensity. This is the play's strength though so you'll just have to find a way to work with it.

I think it would run best in an arena or a very intimate proscenium setting. It's not a play you would want to present to a house of more than 150 or 250 because it's so subtle. There again though, this is the play's strength so you have to work with it.

Although the play is set in London, there is no need to play the parts with an accent since the play isn't very place specific. They are in London but they could be anywhere in the world.

With the right cast and in the right situation this is a play I would very much like to do. It might not be a huge hit but it would be very satisfying.