Dark Sublime

Michael Dennis

• Publisher: Nick Hern Books
• Year: 2019
• Print ISBN: 9781848428379
• eBook ISBN: 9781788501934
• Topic: Literature
• Subtopic: British Drama
• Index: Literature

A play about joy and heartbreak, quarries and transmat beams.

When Oli arrives at now-forgotten sci-fi icon Marianne's door, he's looking for an autograph – and maybe a friend. Marianne's hoping for the phone to ring, for her best friend to see her differently, for her turn at something more substantial than a half-remembered role on a cult TV show.

As they start to explore each other's worlds, they begin to discover what every good relationship needs: time and space.

Exploring the complexities of connection, especially in the LGBTQ+ community, and the contrast in lived experiences across generations, Dark Sublime is a love-letter to British sci-fi television – those that make it and those that adore it.

Michael Dennis's debut play premiered at Trafalgar Studios in London's West End in 2019, directed by Andrew Keates and starring Marina Sirtis, best known for appearing in Star Trek: The Next Generation.

ACT ONE

Scene One

The ident music of Thames Television.

A radiophonic throb establishes, then fades away.

MARIANNE’s living room. Books, clutter.

The front door and the main living space are separated only by a small open-plan lobby area; the front door effectively opens into the main space. A door leads from the living space to a kitchen; another one off towards bedroom, bathroom.

The letter box snaps open. A mouth visible.

KATE. I’m going home in a minute!

MARIANNE (off). What?

KATE. I’m off!

MARIANNE enters, wiping her hands on a tea towel. Perplexed, she looks to the ceiling as though the voice might be coming from above.

(Wearily.) Behind you.

MARIANNE realises there is someone at the front door. She opens it. KATE is on her knees.

MARIANNE. What are you doing?

KATE. What are you doing? I’ve been on the doorstep for ten minutes!

KATE moves through and sits on the sofa. She’s come from work and is carrying a bottle of wine.

Your neighbour must think I’m having a religious experience.

MARIANNE. And are you?

KATE. If you mean ‘am I hoping that there’s something meaningful at the end of all this suffering’ then, yes. A large one.

She hands MARIANNE the bottle.

MARIANNE. I’ve been in the kitchen. I can’t hear the bell if I’ve got Tony Blackburn at full whack.

KATE. ‘Another candid glimpse of the home life of one of Britain’s top actresses.’

MARIANNE. Well, it was this or the BAFTAs and my Alexander McQueen’s in cold soak to try and get that piccalilli out.

KATE. Did you say you were getting a drink?

MARIANNE. Ah, I’ve always been good at picking up cues. (Re: wine.) This?

KATE. Start with a gin and tonic, maybe?

MARIANNE. Gin and tonic. We can do that.

She heads into the kitchen.

You’ve got a key.

KATE slips her shoes off, settles back. This back-and-forth is a hallmark of the two women’s relationship

Her phone beeps. She takes it from her bag, looks at it, rummages in her bag, takes out a glasses case, takes the glasses and puts them on, looks again at the phone. She smiles and taps out a reply.

MARIANNE enters with the drinks. She notices the phone.

KATE puts the phone away, then her glasses. MARIANNE passes her a drink.

KATE. I’ve been dreaming of this all day.

MARIANNE. I say, you’ve got a key.

KATE. I don’t carry it with me. I don’t live here.

MARIANNE. Kate – how old are we? You don’t have to wait to be invited in.

KATE (re: the gin and tonic). Ooh, that’s lovely. So we’re talking then?

MARIANNE.…We appear to be.

KATE. You know what I mean.

MARIANNE gets up and crosses to a shelf. She takes down an envelope and hands it to KATE.

MARIANNE. Read that.

KATE takes the letter but doesn’t open it.

I notice you said ‘top actress’ and it’s appreciated.

KATE. What did you run away for?

MARIANNE. When?

KATE (with exaggerated patience). Saturday.

MARIANNE. Oh! Do you mean you and…

KATE. Suzanne.

MARIANNE. Suzanne. That’s right. How is she?

KATE. She’s very well.

MARIANNE. Oh, good.

KATE. So…?

MARIANNE. What?

KATE looks at her.

I’d left the, um – I’d unplugged the freezer, that’s the thing.

KATE is happy to wait.

I’d got the fan heater on, for that damp patch – by the swing bin, you know, in the corner? And the kettle was on the go, and I was giving my phone a bit of a bump, and I fancied a crumpet, just before I nipped out, so I had to rejig some of the plugs – and I knew I shouldn’t have done it, but it totally slipped my mind, and then when I ran into you and, um… And, um…

KATE pointedly doesn’t help.

On the street, it suddenly popped back into my head, and I thought – ‘!’ – cos you’re not meant to refreeze stuff once it’s thawed out, are you?

They didn’t factor in the proliferation of electrical appliances when they built these flats.

I wasn’t being – Wasn’t intending to – Do tell…

KATE. Suz/anne.

MARIANNE. Suzanne. From me.

Pause.

KATE. Mm.

MARIANNE. It was nice to meet her.

KATE. ‘Meet’ her?!

MARIANNE. She seems lovely.

KATE. She is. Uncomplicated.

MARIANNE. How’s work? You haven’t read that letter!

KATE. Long day. My fiesta was clamped over lunch.

MARIANNE. I could never work in an office.

MARIANNE heads towards the kitchen.

New shoes?

KATE. These? You’ve seen these before.

MARIANNE (off). They’re nice. Suit you.

KATE. Meetings all morning. I always wear a closed-toe if I’m sharing a lift with Outdoor Events.

KATE has taken the letter from the envelope and started to read.

MARIANNE (off). I saw Liz on Tuesday.

KATE. Oh yes?

MARIANNE (off). Nipped round for half an hour. Do my bit. Took her a packet of oat cakes and a Big Issue.

KATE. Like the last days of Rome.

MARIANNE (off). What d’you say?

KATE. I said that’s nice.

MARIANNE comes back in with a bowl of crisps.

MARIANNE. She’s lost a lot of confidence since the accident.

KATE. Marianne. A toddler bumped into her on his scooter. Hardly Police Camera Action!

MARIANNE. Well, that’s not very sympathetic.

KATE. Oh god, the arts! If someone looks at you askance you get the vapours! Go into Housing Benefit and answer the phones for an hour. That’ll open your eyes.

MARIANNE. She hasn’t worked for six months!

KATE. Well, it’s not cos of that, is it? That’s –

MARIANNE. What?

KATE. Nothing.

MARIANNE. What?

KATE. Well. We both saw the last thing she was in, didn’t we?

MARIANNE. It has been a long day!

KATE. Is that unfair?

MARIANNE. It was a – European director. They like to experiment.

KATE. Fifty-five pounds to sit on a bench and watch an oversized puppet give birth to a potato.

MARIANNE. It’s awful when you know it’s not working.

KATE. It’s not how I remembered Gypsy.

MARIANNE. And you always do. You t...

Table of contents

• Cover
• Title page
• Contents
• Original Production
• Epigraph
• Characters
• Act One
• Act Two
• About the Author
• Copyright and Performing Rights Information