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Bridget’s Girl Book and Lyrics by Barbara Dixon Music by James A. Goins Contact Barbara Dixon barbarapalmerdixon@gmail.com 310.502.6901 James A. Goins jamesagoins.com 661.382.2810

1 “Bridget’s Girl” was originally developed at New Musicals Inc. formerly The Academy for New Musical Theatre in North Hollywood, CA “Bridget’s Girl” Winner for Best Musical at the Chameleon Theatre Circle’s Tenth Annual New Play Contest Time: Present Place: Bridget’s Studio Characters Bridget ………… F Age (40 - 45) The Stymied Wife Vidal …………... M Age (50 – 60) The Wise Mexican Caretaker Alberto ………… M Age (18 – 21) The Modern Mexican Youth Richard………… M Age (40 – 45) The Disgruntled Husband Mom …………... F Age (60 – 70) The Shell-shocked Grandmother Dad ……………. M Age (60 – 70) The Oblivious Grandfather Lucy …………… F Age (40 – 45) The Dutiful Sister Annie ………….. F Age (16 – 17) The Rebellious Daughter Jimmy …………. M Age (30 – 35) The Unfettered Painter Isabel ………….. F Age (25 – 30) The Exotic Model

2 MUSICAL NUMBERS ACT I 1. In the Beginning BRIDGET 2. This Isn’t What I Bargained For RICHARD 3. I Told Her BRIDGET, LUCY 4. It’s A Beautiful Day BRIDGET, LUCY, MOM, DAD 5. I’m Sick of It! RICHARD 6. Ignore The Bills JIMMY, BRIDGET 7. It Seemed Like Destiny MOM 8. Looking At Art RICHARD, BRIDGET, ISABEL, JIMMY, VIDAL, ALBERTO, ANNIE ACT II 9. Why Are Girls So Mean? ANNIE 10. I Will Paint You JIMMY 11. Tell Me About My Wife RICHARD, ISABE 12. The Little Ache Inside BRIDGET 13. Each New Painting JIMMY 14. Can You Hear Me? RICHARD 15. Someday I Will Take Her There DAD 16. I Will Paint You: (Reprise) JIMMY 17. I Am A Girl BRIDGET, ANNIE 18. I Can Do This RICHARD 19. Looking At Art (Reprise) BRIDGET

3 “Bridget’s Girl” A Musical Bridget is trying to get started on her sculpture but every time she begins to work, something interferes. A memory pops into her head; something one of her parents said makes her lose confidence; she gets a call about her daughter, Annie, ditching school again, or Richard, her husband, interrupts her to express his frustration with work. Then there’s the sexy painter down the hall, Jimmy, suggesting new possibilities and causing even more distraction. Bridget's Girl deals with a wife's choice to recapture her artistic life after helping her husband acquire his career, raising a teenage daughter and who now questions the decisions she has made in life that challenges who she really is to her family and her identity as a person. Length: 120 Minutes 19 numbers 5M and 5W Set Requirements: Single Set with Multiple levels. Props and set pieces determine locations.

1 ACT I Harsh Southern California light streams down through a hole in the ceiling and illuminates a marble pedestal sitting on the floor in the middle of an artist’s studio, with blocks of clay stacked up beside it. A three-legged easel stands in the foreground angled towards the pedestal and a cart loaded with tools stands by ready for service. Drawings of female figures are taped up all around and statuettes of lithe girls entwined with the branches and trucks of trees are strewn about. The painting of an arid landscape hangs on the back wall, a goodly length of butcher paper lies unfurled on the floor, and a red antique chair with spindly legs stands poised for adventure. These objects are concentrated in the center of the stage, with the periphery left empty. NEW LOCATIONS ARE CREATED WHEN VIDAL, THE BUILDING SUPER, AND HIS GRANDSON, ALBERTO, BRING FURNITURE AND PROPS ON STAGE AND ARRANGE THEM IN EMPTY PARTS OF THE STUDIO, WHICH CAUSES IT TO BECOME INCREASINGLY CONGESTED AND IMPINGES ON THE ARTIST’S ABILITY TO DO HER WORK. (BRIDGET – early forties, strong, energetic, dressed in T-shirt and jeans – stands facing the doorway. VIDAL – the middle-aged, Mexican-American super who has a good sense of playful irony – and his grandson, ALBERTO – late teens, more sophisticated than his grandfather but new to this country – enter pushing a cart loaded with more blocks of clay. BRIDGET eagerly steps forward to help unload. After a moment, VIDAL looks at her with a twinkle in his eye.)

2 VIDAL Now you are ready to make your nympho. BRIDGET She’s not a nympho, Vidal! She’s a nymph, the wood nymph, Daphne. ALBERTO “Nympha”, in Spanish. (BRIDGET looks at him gratefully.) BRIDGET Yes, “nympha”! (to VIDAL) You see? VIDAL Si! BRIDGET Her father changed her into a tree because he thought her life was in danger. VIDAL I have seen a statue like this in Mexico, of the girl who is becoming a tree. BRIDGET (becoming pedantic) It must have been a reproduction of Bernini’s work. He was a famous Italian sculptor who also made a statue of Daphne, “the girl who is becoming a tree.” VIDAL The owner had to put a fence around it because the dog liked to go pee there. BRIDGET (mildly indignant) Mine’s going to be different! (Something at the base of the pedestal catches her eye. She leans forward for a closer look.) BRIDGET Vidal, why didn’t you tell me the skylight leaks?

3 (He comes up beside her and looks down.) BRIDGET You see those spots on the floor? (She looks up and VIDAL follows her gaze.) BRIDGET And those stains on the ceiling? VIDAL How long it will take you to make your statue? BRIDGET I have six months. (VIDAL turns away to count on his fingers.) VIDAL Mayo, Junio, Julio. It never rains from May to October. We live in Los Angeles. It is a desert here. BRIDGET That doesn’t mean it never rains. VIDAL That means it never rains from May to October. BRIDGET The weather is completely unpredictable now, with Climate Change. (VIDAL nods solemnly, then points to the other side of the room.) VIDAL Why you do not make your nympha over there? BRIDGET Because I need lots of light, to see the details. VIDAL What difference does it make, if it will be raining? (BRIDGET glares at him and he shrugs.)

4 VIDAL Do not worry, Alberto and I will fix your skylight. BRIDGET Thank you, I’d appreciate that! (The men exit. BRIDGET remembers her manners and calls out to the empty doorway.) BRIDGET Thank you, Vidal! Thank you, Alberto! (She looks at the pedestal and her spirits rally. There is bravura in her tone as she begins to sing, then doubt slowly, inevitably, creeps in.) #1: In The Beginning BRIDGET THIS COULD BE THE ONE THE ONE THAT I AM KNOWN FOR THAT OPENS UP THE DOOR TO MAKING MORE THE ONE THEY CAN’T IGNORE I PICTURE HER WHEN SHE IS FINISHED INSIDE A LAUREL TREE ARMS REACHING UP BECOMING BRANCHES WHAT WILL IT TAKE TO SET HER FREE? SHE STANDS BATHED IN AN ASTRAL LIGHT PEOPLE HAVE COME TO SEE HER SUDDENLY MY ROLE IS INCIDENTAL WHAT DOES SHE HAVE TO DO WITH ME? BUT IT’S SO EASY IN THE BEGINNING BEFORE THE WORK BEGINS BEFORE THE CHIPS START TO FALL BEFORE THE DOUBTS SET IN BEFORE THE DEMONS COME TO CALL THE WORK BEGINS AND THE CHIPS START TO FALL THEN THE DOUBTS SET IN AND THE DEMONS COME TO CALL BUT IN THE BEGINNING IT’S SO EASY

5 (She picks up a handful of markers, kneels beside the butcher paper, and begins to draw. A DOG BARK ring tone sounds.) BRIDGET I could be vacuuming or chopping wood. (dog bark) “You don’t have to answer the phone, Bridget.” (dog bark) Damn…it could be the kid! (As the barking continues, she gets up, fishes around in her purse, and pulls out her phone.) BRIDGET Hi, what’s going on? (listens, then…) Oh, my god! How do you know? RICHARD (off-stage) A teacher saw her sneaking off campus with a boy, or two. (RICHARD – late forties, sympathetic – enters, talking into his cell phone.) BRIDGET Or two? Like, maybe a few? RICHARD No, I believe it was just two. BRIDGET Oh, my god! But, two? (She turns around and sees RICHARD. They stare at each other for a beat, and lower their phones.) RICHARD I left a message. BRIDGET She never listens to them. That would require a certain amount of patience, which our daughter does not possess. Was she seen getting into a car, by any chance?

6 RICHARD I don’t believe so. BRIDGET That’s a relief! (She makes a call and puts phone to ear.) BRIDGET Come on, Annie! Answer the goddamn phone. RICHARD We have to comb the streets of the city together. BRIDGET You’re the one on kid duty. RICHARD This job is too big for one person. She could be having sex this very minute. BRIDGET Where, at a bus stop? On somebody’s lawn? It’s a big city, Richard. It’s hopeless trying to find her. (She ends the call, stows her phone, and tries to reassure herself.) BRIDGET She’s not self-destructive. She’s actually quite sensible. You could say she has a good head on her shoulders. She’s just a little impulsive. RICHARD Yeah, she does crazy shit all the time! BRIDGET That’s true. (suddenly hysterical) And she’s with two boys! (RICHARD wobbles on his feet.) RICHARD I’m not feeling so well. Maybe it’s allergies, or I’m getting a cold.

7 (He sits on the red chair. It teeters under his weight, and he jumps back up and eyes it with suspicion.) BRIDGET Don’t wimp out on me now, Richard. We made a deal. RICHARD Is our DEAL about your sculpting, or about your not wanting to be part of a family anymore? BRIDGET To be honest, I wouldn’t mind taking a break. RICHARD I thought so! BRIDGET No, it’s about me having the opportunity to experience the sublime sensation of getting lost in my work. A luxury you experience on a regular basis, I believe. RICHARD Except you picked a lousy time to get lost. BRIDGET I was commissioned, remember? RICHARD If that’s what you call it. BRIDGET Besides, isn’t it about time to see what Dad has to offer? RICHARD I don’t know what goes on in the minds of girls. BRIDGET She’s a teenager. She’s trying to find herself. RICHARD So, my wife wants to get lost and my daughter’s trying to find herself. (He sits on the pedestal and sulks.)

8 VIDAL and ALBERTO enter with a wrought iron table, which they put in an empty part of the studio. (RICHARD finally looks around.) RICHARD You’ve got all your favorite things here, haven’t you? The painting that hung over your grandparents’ fireplace, gloating. (He glares at the chair.) RICHARD The stalwart little chair that stood erect as generations fell by the wayside. BRIDGET Annie’ll come back in her own sweet time, hopefully all in one piece. (They look at each other and simultaneously let out a cry.) BRIDGET, RICHARD AAAAHHHH! LIGHTS UP ON THE PATIO. (DAD enters balancing a tray with food container and drink, which he puts on the table.) DAD It’s not all that warm out here, you know, although there is still plenty of glare. (MOM enters with her tray as he runs his finger across the table and holds it up for her to see.) MOM We can go back inside if you prefer. DAD No, you like it.

9 VIDAL and ALBERTO bring in two chairs, which the old people avail themselves of, oblivious to the chair-bearers. (BRIDGET’S older sister, LUCY, enters with a flourish.) VIDAL and ALBERTO quickly exit. LUCY It’s lovely out here! You can smell the magnolias. (She inhales deeply, with her superior powers of appreciation.) VIDAL and ALBERTO return with two more chairs and LUCY sits down on one of them. MOM There’s something exciting about flowering trees! DAD I don’t trust them, especially when I’m eating. What are we having today, anyway? MOM It’s something new I found, across the street from the doctor’s office, when they had you hooked up to that machine. It’s called Gulliver Stew. DAD Are there little people under the crust? MOM I don’t know. (MOM and DAD peer into their food containers as if this were a real possibility.) LUCY I’m going to make you some soup. From the vegetables I’m growing in my garden. And I’ll make some of that humus you like. It’s got lots of protein.

10 DAD The humus gives me gas. (Holding one end of the butcher paper, BRIDGET shoos RICHARD away and climbs up on the pedestal. She tapes the paper, on which she has drawn a tree, to the bottom of the skylight so it hangs down to the floor. She steps off the pedestal to admire her work, then sighs, deflated.) BRIDGET I hate waiting to see if our teenager survives her latest adventure. LUCY Come sit next to me, Bridget. (She pats the chair beside her. BRIDGET crosses to THE PATIO and sits next to LUCY.) RICHARD You’d better go home and wait for Annie. You need to have a talk with her. (He turns around and sees that BRIDGET is gone, and can’t see or hear the family on THE PATIO. He takes this opportunity to examine her tools, and other things, as he sings…) #2 This Isn’t What I Bargain For RICHARD THIS IS NOT WHAT I BARGAINED FOR THE FRENZIED MOODS, THE DUSTY FLOOR I THOUGHT SHE WAS THE GIRL NEXT DOOR I NEVER GUESSED SHE WOULDN’T LIKE SHOPPING FOR CLOTHES AND PRETTY THINGS GOT NO THRILLS FROM GETTING FLOWERS, CANDY, DIAMOND RINGS WOULD THINK THAT ENTERTAINING WAS A CHORE BE RELIEVED WHEN FRIENDS WERE DONE AND OUT THE DOOR I NEVER GUESSED SHE WOULDN’T LIKE GOING ON WEEKEND GETAWAYS

11 WOULDN’T LIKE LAZING AROUND ON THOSE CAREFREE SUMMER DAYS RICHARD (cont’d) SHE ACTS LIKE THERE ARE VOICES CALLING HER SIRENS BECKONING TO GO AND DO THINGS THAT SHE’D PREFER THIS IS NOT WHAT I BARGAINED FOR I WANTED SOMETHING MORE YOUR WIFE SHOULD ALWAYS BE THERE FOR YOU SHARE IN ALL THE THINGS THAT YOU DO BE HALF OF ONE WHERE THERE ONCE WERE TWO GO THROUGH LIFE AND SEE THE SAME WHOLESOME VIEW WE HAVE ONLY SO MUCH TIME IN OUR LIVES WE MUST THEREFORE STAY ON TRACK WITH OUR WIVES TRACK WITH OUR WIVES AND NOT BE CONSUMED BY URGES AND DRIVES TO MAKE WOOD NYMPHS WHILE OUR LIVES PASS US BY Damn! LIGHTS OUT ON THE STUDIO. (MOM looks at BRIDGET quizzically.) MOM Is everything all right, Bridget? BRIDGET (smiles wanly) Yes, everything’s fine, Mom. (MOM pushes her tray towards BRIDGET.) MOM You can have mine.

12 BRIDGET No, thanks, I’m not hungry. (DAD puts his hand firmly on the tray before BRIDGET has the chance to push it back.) DAD Keep the tray! All your mother cares about these days is coffee and dessert. (He and LUCY dig into their food. BRIDGET takes a tentative bite, then works up the courage to swallow. MOM breaks the silence in her cheery way.) MOM I’m trying to talk you father into going abroad. BRIDGET That’s a great idea! LUCY Where would you like to go? MOM It’s always been our dream to see Venice. Hasn’t it, Dad? (She turns to DAD but he ignores her.) MOM It never occurred to me we wouldn’t make it there. DAD I’m not going down surrounded by people who can’t speak English. BRIDGET You should go. It would be so much fun. DAD We’re too old for fun. It’s a simplistic concept. LUCY Oh, please! (MOM talks to herself, in another world.)

13 MOM I’ve completely given up on The Pyramids. DAD Besides, I have to stay close to my doctors. MOM I may never make it to Maine or Montreal. LUCY They do have doctors in Italy, Dad. MOM I doubt I’ll ever see Delaware. DAD They don’t have our modern techniques. BRIDGET You’re right, they probably still use leeches. (The sisters giggle.) LUCY Although, I understand they’re making a comeback. BRIDGET They are! MOM I’m sure I’ll never see Cincinnati. (DAD finally turns to her.) DAD You don’t want to see Cincinnati. It’s a terrible place. MOM Have you ever been? DAD No! MOM Then come to Italy with me.

14 (They stare at each other, then DAD goes back to eating and LUCY looks up.) LUCY Look at the jacaranda. Isn’t it gorgeous? I found some wool that color, on sale. I’m going to knit a sweater, for Annie. (MOM looks across the table at BRIDGET.) MOM Are you cold? We can go inside if you’re cold. BRIDGET No, I’m fine. Thank you. DAD (to BRIDGET) Would you like me to get a sweater to put over your shoulders? BRIDGET No thanks, Dad. MOM Go get a sweater for Bridget. BRIDGET No, really, I’m fine. MOM I’ll go. DAD No, sit. I’ll go. BRIDGET I’ll go! LUCY Don’t anybody move! Bridget’s a big girl. She knows if she’s cold. (They eat in awkward silent, a happy thought occurs to BRIDGET.)

15 BRIDGET I moved into my new studio yesterday! (MOM turns to LUCY.) MOM What happened? LUCY (raises her voice) She moved into her new studio! BRIDGET And my clay was delivered today. LUCY And her clay was delivered today! DAD (oblivious) We discovered these in the freezer section. You just pop them in the microwave. They’re quite good. (MOM stares at LUCY, questioningly.) LUCY To make her sculpture. (Understanding finally registers on MOM’S face and she turns to BRIDGET.) MOM Of course, to make your sculpture! Forgive me, darling! DAD The creamed chipped beef is quite nice, too. We serve it on toast. MOM Is it absolutely divine, your new studio? BRIDGET Yes, it is! MOM And now that you’re getting paid you don’t have to keep calling that thing you do a hobby.

16 (She slaps the side of her foot, her attention diverted by a mosquito.) MOM Oh, dear, I felt a bite! DAD I told you not to wear those ridiculous sandals! They let the bugs in. Let’s go inside, girls. (He stands and loads up his tray. MOM reflexively follows suit.) LUCY I like it out here. BRIDGET I’ll stay with Lucy. MOM Well, come inside for dessert. I’ve got something yummy. BRIDGET We’ll be there soon, Mom. MOM And I’ll make a fresh pot of coffee! (She and DAD exit.) LUCY (beat) Annie asked if she can spend the night again. BRIDGET She likes to take a break from reality by pretending you’re her mother. LUCY No one likes their mother at her age. BRIDGET She says things that take my breath away. Sometimes it takes me days to figure out how to respond.

17 LUCY Like what kinds of things? BRIDGET That she had to raise herself, as if she were some kind of an orphan. That she lay in bed night after night listening to me and Richard fight. (LUCY stares straight ahead, silently passes judgment. BRIDGET turns to her, imploring.) BRIDGET Tell me, Luce, are there really healthy couples who don’t fight? Or turn conflicts into teaching moments that end in compromise and resolution? What percentage of parents can do that? 65? 75? 95? Were Richard and I really bad parents? When is somebody going to give us our score? When do we get to see our reviews on Yelp? LUCY I’m sure you weren’t bad parents, but there are degrees. BRIDGET That’s right. Of course, there are. (She turns away.) BRIDGET Annie said I acted annoyed when she came into the studio. LUCY I warned you about that. BRIDGET I wasn’t annoyed! I remember how I felt. She was the sweetest little girl. (Together, but separately, the sisters sing…)

18 #3 I Told Her LUCY I TOLD HER BRIDGET YOU WOULD BE A BETTER MOTHER LUCY DON’T GIVE IN TO TOO MUCH SUGAR THEY’LL END UP DIABETIC BRIDGET, LUCY I TOLD HER BRIDGET I HAVEN’T BEEN THE PERFECT MOTHER LUCY DON’T GIVE IN TO ALL THAT SHOPPING YOU MUST SET LIMITS BRIDGET, LUCY I TOLD HER BRIDGET YOU’RE NOT THE KIND FOR BACKING DOWN YOUR PRINCIPLES DO NOT BEND LUCY IT ONLY TAKES ONE OVERSIGHT TO SET OFF A DOWNWARD TREND BRIDGET KIDS UNDERSTAND WHAT YOU EXPECT IT MAKES THEM FEEL SAFE AND SOUND LUCY IT HELPS IF YOUR HEAD IS SCREWED ON RIGHT AND BOTH FEET ARE ON THE GROUND BRIDGET A HEARTY SOUL IS WHAT IT TAKES LUCY THE FORTITUDE OF PIONEERS

19 BRIDGET PARENTS ARE BOUND TO MAKE MISTAKES LUCY A LEGACY THAT’S PASSED DOWN THROUGH THE YEARS BRIDGET I ONCE KNEW A GIRL SWEET LITTLE GIRL SAT IN MY LAP DOWN FOR A NAP KIND OF GIRL I ONCE KNEW A GIRL SWEET LITTLE GIRL SLEPT WITH A BEAR UNRULY HAIR I ONCE KNEW A GIRL SWEET LITTLE GIRL CLIMBED IN THE TREES SCABS ON HER KNEES I ONCE KNEW A GIRL PLAYED IN THE YARD MADE ME A CARD KIND OF GIRL SHE IS GONE IF I COULD HOLD MY LITTLE GIRL AGAIN IF I COULD FEEL HER IN MY ARMS AGAIN AGAIN OH, AGAIN AGAIN LUCY IT’S NOT YOUR JOB TO MAKE HER HAPPY SHE’LL THANK YOU IN THE END WE KNOW THAT LIFE IS LESS THAN HAPPY AND CERTAIN THINGS YOU CAN’T MEND BRIDGET WHY DO WE SOMEHOW LET THEM DOWN THESE LITTLE GIRLS THAT WE TEND?

20 I KNOW WHAT ALL THE EXPERTS SAY BUT I STILL WANT TO BE HER FRIEND BRIDGET, LUCY I TOLD HER LIGHTS OUT ON THE PATIO. LIGHTS UP ON BRIDGET’S STUDIO. (ANNIE – 16, childlike one moment, tough and critical the next – stands in the middle of the studio looking at the pedestal and blocks of clay.) ANNIE What the hell? (She walks around checking things out and we see she has a limp. BRIDGET enters.) BRIDGET Annie, where have you been? Dad and I were so worried about you! ANNIE All’s well that ends well. BRIDGET No, it’ not! You were seen sneaking off campus with two boys. Where did you go? ANNIE To buy concert tickets. BRIDGET You can’t just walk out in the middle of school to run an errand. ANNIE We figured they’d be sold out if we waited. They make it so hard for kids our age… BRIDGET Ditching school is not okay, and with your grades you can’t afford to miss a minute of class time. I want you to do well in school, Annie.

21 ANNIE I know! I’m trying! BRIDGET I want you to try harder. Where did you go to get the tickets? ANNIE The Wiltern. BRIDGET You went all the way down there? ANNIE You know where that is? BRIDGET Of course, I do. Did one of the boys drive? ANNIE No, we took the train. BRIDGET That’s some consolation. Remember, you can’t ride in cars with other kids. It’s against the law, unless they’re over eighteen, and then they’re too old for you to be with, anyway. ANNIE If you don’t want me riding around in other people’s cars, take me to get my license! BRIDGET I don’t think you’re ready yet. ANNIE I know how to drive, Mom. (BRIDGET turns away to hide her concern.) ANNIE I like it better when you work at your regular job. You’re happy to see me at the end of the day. BRIDGET I’m happy to see you!

22 ANNIE This is like when I was little and you stayed home to sculpt. I hate that word. BRIDGET I stayed home to be with you. I started sculpting after I stopped working. Remember all the things we made? Unicorns with blue manes, castles with orange turrets! We had them piled all over the windowsills. ANNIE You made them. I was a little girl. It scared me the way you were so obsessed. Then when you made the garage into a studio, you couldn’t wait to get rid of me. Remember the time you left me at school overnight? BRIDGET I didn’t do that. ANNIE You left me there until the end of the next day. (BRIDGET laughs involuntarily.) BRIDGET That’s impossible! They would never let a child spend the night. ANNIE I thought you were never coming back. BRIDGET I’m sorry, Annie. (BRIDGET tries to hug her but she pulls away.) ANNIE And I don’t like your giant household appliances. I think they’re stupid. BRIDGET You’re not the only one. I’m hoping people will take my wood nymph more seriously. ANNIE (with total disdain) Your wood nymph?