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Last Updated: 29 Jul 11

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Rick Johnston

RICK JOHNSTON   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  International Creative Management  

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Plays by Rick Johnston

Cahoots

1st Produced:

- - -

- - -

Company:

n/a

1st Published:

Dramatists Play Service, NY,

ISBN/ASIN:

-

Music:

-

doollee no

#18303

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Genre:

comedy thriller Comedy

Parts:

Male

3

Female

2

Parts other:

-

Notes:

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Synopsis:

The setting is Ken and Jan's apartment in a Manhattan high rise, where Jan and her friend Lois are setting up for a dinner party before attending a block association meeting on neighborhood crime-a subject that has become an obsession with Lois' husband, Al. In fact, just to show how vulnerable they all are, Al, impersonating a masked burglar, breaks into the apartment via the terrace while the ladies cower in fear. For this, and other offenses, there is a growing antagonism between Al and Ken, and as dinner progresses so do the insults-culminating in disaster when Ken fatally clobbers Al with an oversized pepper mill. The problem then becomes what to do with the body, a dilemma which is compounded when a suspicious security guard arrives at the door and, being bent on blackmail, is also summarily dispatched. Before the evening is over our concerned citizens find themselves turned into expert, if accidental, criminals, as one of their victims is killed twice and several bodies are deftly disposed of from the terrace. Filled with witty dialogue and hilarious one-liners, the play manages to maintain a farcical unreality while demonstrating that things usually do get worse before they get better-and that the vaunted dangers of street crime can pale beside the outrageous mayhem that can ensue when four "good friends" get together for a quiet dinner.

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.