Displays a play!
1983, (One Act) Third Play in cycle of six One Woman Plays.
a Brooklyn schoolteacher, returns home from school to prepare
a meal for SHELDON, her teacher husband, before they
go to a lecture. She talks to him imagining he's in the house
somewhere, realises he isn't, goes to the bedroom to prepare
herself, finds a note from him - he's left her.
Eight short scenes: The homecoming, The discovery,
The depression, The phone call, To the art gallery, To the
restaurant, To the bookshop, To a Yard sale.
Comical, bitter, angry, defiant.
you should have seen him in bed. Or rather you shouldn't have seen
him in bed. I'm sorry I ever saw him in bed. "Tonight's the night"
he'd announce. Subtly. "Faw what, honey?" I used to put
on a shy, southern drawl and pretend I didn't know what he was on
about. "What night's this, sugar plum? You all surely don't mean
- oh my, Sheldon, there's no stopping you I do declare." And
then he'd leap onto the bed in his altogether and start jumping up
and down so's his shlong and spheroids flip-flapped about his thighs
and I'd have to join him and bounce alongside of him so's my titties
went flip-flap too and we made such a right old slap-smacking sound
that I'm certain all the neighbours could hear. Sensuality, Maxie?
He had the sensuality of a rhino stuck in mud, of a crocodile with
false teeth, of a baboon full of fleas, a crab, a snail, a hyena,
a pterodactyl! And all because he said he loved me. What am I gonna
do? What am I gonna do, what? Tell me, what? What, what, what?"
his earliest plays, Wesker has always delineated women with understanding
and sympathy. Both these qualities are present here [in Yardsale and
Whatever Happened to Betty Lemon] …each character convinces one
equally of the depth of her suffering and of the resilience of her
Francis King, Sunday Telegraph