Simultaneity

OK... this is a capture of what in some ways are notes for the next stage in the evolution of this project.

It's clear that I'm strongly in favor of keeping the two worlds both present in the script. I got a LOT of notes saying that I needed to root the play in one world, and eliminate the other - the one most wanted eliminated was the fantastic world. The main note was that the future world is lost completely when the fantastic one intrudes, and the play becomes a plot machine and loses its ability to access subtlety. All true!

But there's a strong energy in the fantasy world, which actually represents a post-singularity world and is so strong I can't deny its actuality.

One cast member though had a key for me... Shakespeare's DREAM play introduces both worlds in scenes that alternate and eventually collide. That's the key to the success of this work.

1. Vera is having visions that have served her up until the story begins... giving her almost supernatual insights into her world and making her a terrific journalist, in fact, one of the greatest.

2. The visions begin to take on a more fantastic aspect... they in fact become what she knows of the Bush.

3. As the story progresses, her dilemma is made clear through increasingly surreal and strong visions. And she discovers the origin of these visions, and it's not what she expected it to be.

I know this is still vague, but I don't want to sperl it...