I LOVE YOU NOW is an exploration of a modern marriage sinking under the weight of denial and complacency. Taking the idea of ‘the grass is greener’ to its theatrical limits, I LOVE YOU NOW challenges two actors to take on the roles of married couple, Leo and June and their six lovers. This conceit serves as a theatrical metaphor for our inability to communicate with our partners and instead continually search anew for that fix, that self-satisfaction.

However, I LOVE YOU NOW can also be produced with up to eight actors, celebrating the story as a two-door farce, but still retaining the mystery of the characters’ authenticity.
Leo and June’s many lovers:
- Rob, Leo's identical twin
- Michelle, Rob's wife
- Dr. Shaw, Leo's psychiatrist
- Father John Roche-Boyle, their priest
- Melissa, the nanny, and
- Helmut, June's personal trainer
all exist in the lives of Leo and June, but do they exist as their lovers? Are these affairs fantasies invented by the protagonists? The script is laden with clues for the ensemble and audience to unpack.

Innovative, in that our protagonists only share four scenes, I LOVE YOU NOW explores those relationship black holes where what we don't say finally overwhelms what we do, then swallows us whole. Four acts take us through the honeymoon, housekeeping and combustion of six illicit relationships, and through this prism of covert assignation we begin to piece together the marriage of Leo and June and June’s devastating secret—her time is running out.

Climactically, when they do speak, Leo and June find themselves strangers in a marriage shattered by silence and neglect. They must find the words to confront what every human dreads—the best way to say goodbye.

I LOVE YOU NOW is a companion play to TELL ME AGAIN.

  • a farce with punch
  • 90
  • 2 total
  • 1 female identifying, 1 male identifying
  • women
  • 18+
  • teen, young adult, adult
  • Australian Script Centre


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Female | 50s | under 3 minutes
Starts on page 36

EXTRACT: AGE: 45–65. JUNE: Oh. I see. [Tiny beat.] It's just ... it's just ... a cliché! God, what is it? [She thinks …] Well it's a ... it's ... the obvious thing. Like when ... it's what everyone expects, or what happens all the time. [Beat.] Does that help? [Beat.] No.


Gender Unspecified | 50s | Unspecified
Starts on page 44

EXTRACT: Age: 45-65. MICHELLE: I had a friend once who had himself hypnotised out of guilt—against guilt—like smoking—but guilt. I remember thinking that was genius. Inspired even, but it sort of disturbed me too, because, I wonder why it's there, if we need it, to stop ourselves from falling, from falling over a cliff. To stop us from doing things we can't undo.

Adult themes


Male | 50s | under 3 minutes
Starts on page 55

EXTRACT: Age: 45-65. FATHER JOHN ROACHE-BOYLE: So, yes, people think that the short term is only there to serve—to be a precursor to the long term. But really the short term is the closest thing we have to being sure about anything, about any thing at all, including—whether—anything exists—so yeah, go for it. The short term, the feeling. I love you June. Now. I love you now.


Female | 50s | Unspecified
Starts on page 79

EXTRACT: AGE: 45–65. JUNE: I crashed a Baptism on the way back to work. One of your brethren. I didn't mean to—I mean, I didn't know it was a baptism, I was just going in for a look—a sit. You know sanctity of the soul and all that and the wind caught the heavy door and they all turned around—sanctuary ... I mean ... I think—and the old priest smiled at me that benign smile—and so I sat down at a discreet distance so the total lack of recognition wouldn't disturb anyone and watched them wet the tiny baby. But something was missing. I wasn't getting my usual fix, not that I do it often, go church-hopping, just now and then, you know good news, bad news, well never good news really ...


Female | 50s | under 3 minutes
Starts on page 94

EXTRACT: AGE: 45–65. JUNE: Don't speak. I'm getting there. Don't panic. I am. Somewhat. Anyway, I wanted to tell you —that's where I was, wasn't it? Yes. Don't speak. Yes. I wanted to tell you because, I know you won't fuss. You'll care but you won't fuss, because you've been very honest with me. Or at least I think you have—you better have or I'll have to kill you, because I don't think I could stand any more dishonesty and I think, in fact, I think, actually that is what is killing me. In fact. A bit new-agey bullshit I know, but you can't keep it up, can you? The dishonesty. It burns a hole in you. Somewhere.

Adult language



The stage is disguised as a hotel room, and two actors play out a series of infidelities in short episodes. The fragments are unified by the amorous theme, but how they fit together as a complete entity is the creative, and intriguing challenge it presents to the audience. Jeanette Cronin’s I Love You Now takes conventional stories and puts them in poetic structure, so that the telling of an ordinary tale, can lead to the discovery of greater meanings in every day life." -Suzy Goes See Review



"Cronin's text is detailed, thought provoking and insightful. Presented with an honesty and truth, I LOVE YOU NOW is both entertaining and heartbreaking, regardless of your experiences of love and relationships." - Jade Kops



"Jeanette Cronin’s new play deconstructs modern infidelities with a wry wit and a knack for great dialogue. Cronin also performs alongside Paul Gleeson and the two display a heightened rapport, with gentle character shifts throughout." - Julian Ramundi



“For our 2017 season we looked at many scripts by leading playwrights from Australia and overseas and I found Jeanette Cronin’s easy style and dialogue to be outstanding and world class,” says Glenn Terry, Executive Producer Darlinghurst Theatre Company. “On top of this Jeanette is a powerhouse performer and I’m proud to be championing this new Australian work." - Australian Arts Review quotes Artistic Director Glenn Terry.



Darlinghurst Theatre Company produces the world premiere of I Love You Now by Jeanette Cronin. This wonderful comedy and love puzzle is directed by Kim Hardwick, starring Jeanette Cronin and Paul Gleeson and featuring live music played Max Lambert and Roger Lock. For more info visit

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