Artist Statement

Set in Downtown Portland, Maine, the plot of CIVIL BLOOD centers on young college theatre girl, Hannah Channing, who desperately attempts to find her way out of, or survive, the following situations: The first, being cast as the romantic leads with her “pretty-boy” ex-boyfriend, Simon Moore, in a production of Romeo & Juliet, and the second, her long-dating internal trauma with her own social anxiety. The one-act has been based around, and inspired, by snippets of William Shakespeare’s Romeo & Juliet, as well as The Hundred Loves of Juliet by Evelyn Skye.

SCENE || MONTAGUE ROAST. DOWNTOWN PORTLAND. PRESENT TIME.

CHARACTERS

Hannah Channing- She/Her. An aspiring performance artist aiming to find her strength is held back by the presence of more than just an ex-partner. She is kind and collected, yet sometimes emotionally sensitive and awkward. Age Range: 20-23 years old.

Little Hannah- She/Her. A younger version of Hannah. Unafraid to be adventurous, but sometimes distances herself from other children. Her presence around the “Adult Version” of herself lives as a personification of the anxious side of her brain. Age Range: 4-8 years old.

Teenage Hannah- She/Her. A boisterous, nerdy version of Hannah from her high school days. Unlike Adult Hannah, she adores being on the stage, yet is insecure with how she attracts other people. Her presence (unlike Little Hannah) around the “Adult Version” of herself lives as a personification of the anxious side of her brain. Age Range: 14-16 years old.

Orin Wembley-They/Them. One of Hannah’s closest theatre friends. A considerate, energetic, and wise-cracking individual, they are often one of few people that Hannah comes to for re-assurance or advice.  Age Range: 18-21 years old.

(Lights up on a minimalistic coffee shop. Situated downstage center, HANNAH is sitting at the center of an elongated bar table. SHE stares down a matcha latte poured into a mug. Situated behind HANNAH is a small trickle of OTHER CAFE PATRONS. Two glass doors that signify the entrance to the cafe remain behind HANNAH on upstage center.)

(Several beats of silence later, TEENAGE HANNAH enters through the doors and comes toward HANNAH to sit beside her without announcement. Her teenage version of herself looks similar in appearance. Rather, except the addition of much longer hair, rounded glasses and a faded graphic shirt with the logo of “Death Note” the anime series.)

TEENAGE HANNAH. Why’s he coming back?

(“Adult HANNAH” looks back at TEENAGE HANNAH feeling as though she was cherry-picked from her listless staring. SHE gives TEENAGE HANNAH a confused look.)

HANNAH. What?

TEENAGE HANNAH. Why’s he coming back?

(HANNAH keeps her confused look glued toward TEENAGE HANNAH, not knowing how else to process everything happening around her.)

HANNAH. W-Who-?

(Enter LITTLE HANNAH–a younger version of HANNAH from Elementary School. She runs toward the bar table and sits at the other side of HANNAH. The child is dressed in a store-bought Snow White costume White and looks halfway pudgy in her physicality.)

LITTLE HANNAH. I thought you hated him.

(HANNAH lets out a faint noise of surprise the moment she catches sight of LITTLE HANNAH.)

HANNAH. Well, as if I don’t…!

(LITTLE HANNAH glances back at TEENAGE HANNAH with a questioning expression. SHE looks back at “Adult HANNAH” shaking her head.)

LITTLE HANNAH. He doesn’t think so.

HANNAH. O-Okay? (Beat.) What am I supposed to do…?!

TEENAGE HANNAH. (shaking her head) You’re so stupid.

LITTLE HANNAH. What makes some idiot like him so special?…

HANNAH. The only problem was Simon seeing nothing in me but some “porn acid trip.” I already told him that the moment we broke up. Therefore, I will not let that get in the way of me, because it’s not like he’s actually gonna recognize I’m not some freelance playboy bunny.

(LITTLE HANNAH and TEENAGE HANNAH remain staring at her blankly with clear judgement on their facial expressions. After several beats of silence pass, THEY glance back at each other questioningly. Then, back at HANNAH.)

LITTLE HANNAH. He’s gonna use you again…

(Beat.)

HANNAH. So?!

LITTLE HANNAH. Nerd.

TEENAGE HANNAH. Not demure. Not mindful.

LITTLE HANNAH. Baby.

HANNAH. SHUT UP!!

(Lights up in a topsy-turvy, dream-like swirl. The following stage directions must be performed as though those onstage are in a TV being put on rewind: TEENAGE HANNAH and LITTLE HANNAH rapidly exit backward toward both wings. ORIN enters in from the door and comes toward HANNAH.)

(Lights resume back to normal, and the cast onstage refers back to normal-paced movement.)

ORIN. Hey…Just, uh…ya know…! Wanted to check in–

HANNAH. I-It’s nothing. Don’t worry about that.

ORIN. (giving HANNAH a challenging look) I don’t know. (Beat) Kinda sounds like there is something.

(HANNAH stirs her Matcha Latte with a spoon as she semi-reluctantly considers ORIN’s comment. She shrugs.)

HANNAH. Sure.

(An uneasy silence falls between the pair. ORIN glues their eyes toward their lap for a moment, thinking over how else to help HANNAH. THEY address HER again after.)

ORIN. So, what’s wrong with Simon? (Brief Beat.) I mean, the last couple of times I talked to him, he seemed like a pretty decent guy–

HANNAH. He’s my ex.

(ORIN stares at HANNAH in shock.)

ORIN. Oh…

HANNAH. I don’t know what I should do about the fact that he’s here.

ORIN. I mean, I can’t tell you what to do. But, fending for yourself is important…!

HANNAH. He’s probably stuck on some “barbie girl” rather than me.

ORIN. (They scoff) Well! Here comes “d***head land” …

(HANNAH nods still remaining relatively monotone.)

HANNAH. Her name’s Kathryn Hoff. Fucking bitch. (Beat) Anyway, I have zero clues as to what’s going on. Like…(Beat) does Simon know I’m in Romeo & Juliet?

(Beat.)

ORIN. (feeling a little confused) I guess…? (Beat) What are you gonna do?

(As HANNAH tries to think for a moment, SIMON enters in from downstage right and looks around. Sometime later, HANNAH’S eyes land on SIMON.)

HANNAH. Oh no…You gotta be kidding me.

-End Of Excerpt-