This play is divided into three acts. The first is set on the first day back at the start of a school year and focusses on a year one class: its teacher and her colleagues; and its pupils and their families. The second is set twenty-four years later and consists of a range of monologues and duologues that explore the adult lives of some of the characters from the first act. The third act is set in the same year as the first, but only a few days before the end of the school year. An additional structural feature of Acts 1 and 3 are a range of 'psyches': roaming characters that are a lens through which we see into the thought life of the characters.

Through these structural elements, and blending humour and pathos, the play explores those things - both complex and seemingly insignificant - that impact the people that we become.

Providing opportunities for humour and a deeper exploration of human emotion, the play maintains an engaging balance between comedy and drama. Individual opportunities are provided for actors to explore in-depth characterisation in the second act as it is structured from monologues and two-handers. The greater intensity of these scenes is contrasted with the vibrant ensemble of the school-based scenes in the bookend acts.

  • heightened realism
  • 0
  • 10 total
  • 6 female identifying, 4 male identifying
  • young people
  • 16 to 18, 18+
  • all ages
  • Australian Script Centre


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Tahlia Jones

Female | 30s | 3 to 5 minutes
Starts on page 36

EXTRACT: My grandmother was diagnosed with Alzheimer’s when I was five and a half. The onset was rapid and I was one of the first people she forgot, probably because I was the youngest in the family and it seemed that her memory was retreating chronologically back into her past. I didn’t understand that, of course, and kept trying to tell her who I was. Until one day...

Stephanie Taylor

Female | 30s | 5 to 10 minutes
Starts on page 44

EXTRACT: Okay. Confession. I’ve just come straight from the hairdresser, which is why I look so smashingly fabulous. Wash, cut, colour, foils, blow-dry, coiffure, all that kafuffle and then kapow!, four hundred and twenty four dollars later and Ricardo, he says: (imitating his accent) ‘Bellisimo! Elizabeta) Taylor, eat your own heart.’ (brief pause) He means Elizabeth Taylor eat your heart out, of course, but you have to forgive what Ricardo does to the English language because he does have an amazing way with hair...

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