Acts of dissension how political theatre has been presented in the past and what strategies the playwright can employ to make issues of radical or alternative politics more accessible to a mainstream theatre aud

Play text.

Pornography
The True Confessions of Mandy Lightspeed.

Robert Reid
You can’t be too careful.


Character Breakdown

Pike

Mid to late twenties, low level officer worker. Opinionated and filled with
vague, half formed ideas of anti-American, anti-globalisation politics.
Believes that there is something very wrong with the society he lives in
but can not accurately identify what it is. This results in him being quick
tempered and short with his loved ones. This unfocused anger becomes
something much more dangerous after he returns from his disappearance.

Mandy

Pike’s Girlfriend. Early twenties. Studying at University. Smart, caring
and intelligent, she is better informed about the world than she lets on.
From her view point at the university she sees the growing persecution of
dissenting ideas and can interpret the changes happening in the world
around them but does not want to believe that it could be possible. In
reaction she shuts down emotionally and tries to pretend that she doesn’t
see what is happening to try and protect herself and just “get by.” After
Pike’s disappearance she focuses her worry on looking after Pike’s Mum
to distract herself from the growing fear. She keeps a diary of the events

as they are occurring.

Mum

Pike’s mother. In her late fifties. A housewife and mother, retired from
work.

Pike’s Mum has internalised the new value set of the risen

government. Pike’s Mum is of a generation which believes in authority
and law, that those in power are acting in the best interest of the people
they rule and that the media are scrupulously honest. In response to the
contradiction between her beliefs and the world as it is around her, she
refuses to see that any thing is wrong.

This reaction becomes even


stronger after Pike’s disappearance as she turns to the state sponsored
Hilltop church to provide comfort and stability.

Guards

The guards are all members of the New Guard, an extra-judiciary vigilante
group which patrols the streets of the suburbs. The New Guard would
have been the fascist paramilitary group that supported the rise to power of
the new totalitarian regime. Operating outside the law while claiming to
enforce it, they function as ever present reminders of the ultimate power of
authority and reinforce the population’s fear of violence and persecution.
Some of the guards will be average people trying to survive in frightening

times, others will be brutish thugs looking for an outlet for their
frustrations and powerlessness and still others will be cruel sociopaths
looking to exercise their darker desires.

There are several guards

throughout the script so it would be good to see a range of
characterisations.


A note on performance from the Author:

Pornography: The True Confessions of Mandy Lightspeed is a dystopic fantasy set in a
“not too distant” future in which a totalitarian government takes control of an Australia.
The main events of the play’s history take place in the back ground of the personal lives
of our main characters and we only see their effects on the lives of the main characters.
Pornography is an attempt to capture how the revolution may look from the suburbs of
Australia. The sense of the growing oppression should be constantly present in the
interaction between the characters. They’re actions should all have a sense of muted
shock or whispered urgency.
Throughout the play there have been included several elements which exist in modern
society at the date of publication, and which have been exaggerated for effect to act the
tools of the unnamed totalitarian government. Examples of these elements include the
Smart Card, the Hilltop church and the anti-terrorism laws. These are not meant to be
examined in great detail.
The central idea of the play is that the actions Pike takes in response to his torture and the
rise of totalitarianism are of course terrorist in nature. However, because we see the story
through his eyes we are at least tempted to identify with them, demonstrating some of the
methods of coercion which have been used fascist and totalitarian regimes in the past. As
this is a dystopic fantasy it will work best if the audience is on familiar narrative ground,

in this case, the political thriller from the point of view of the anti-hero/vigilante.


Act 1

1

(The space is empty. The work lights are on. Dvorjak’s Symphony for the
New World plays softly. An ABC Radio announcer begins to be heard
over the top.)

RADIO:

It’s quarter past eleven and as I promised last night a little later we’ll
complete our broadcast of the BBC’s special report into happiness. Before
that however we’re taking you into midnight with Dvorjak’s Symphony
from the New World.

(From the fly tower a tear gas canister falls into the space spiralling
smoke out its tail and filling the space. The workers shut off and the space
is plunged into darkness as the sound of a riot blares to life. The riot
noise continues as the lights come up and the smoke clears revealing
PIKE being interviewed for a new job. The interviewer is GUARD ONE.
MANDY is in a separate space on the stage, reading into a handheld
Dictaphone.)

MANDY:

The weirdest thing happened today at Uni.

PIKE:

It’s been kinda a long time since I did this so…

GUARD 1:

That’s fine that’s fine. Relax, there’s nothing to be afraid about.

PIKE:

I didn’t say I was afraid.

GUARD 1:

So how long have you been without work?


PIKE:

I’m not without work, I’m a writer.

GUARD 1:

Then why are you here?

PIKE:

Writing doesn’t pay enough.

GUARD 1:

So why are you doing it?

PIKE:

Because one day I hope that it will.

GUARD 1:

What if it never does…

PIKE:

I’m sorry, these are really personal questions. Whatever happened to…

MANDY:

There was some kind of serious thing going on in the union hall. Cops
came and everything.

PIKE:

…describe your most difficult customer and what you did to rectify the
situation. I’ve got a million of ‘em made up.

MANDY:

No, not a protest as such. Haven’t been many of those on campus since
last year when the magazine editors got taken to court. Might be more
now though. People are starting to get wired…

GUARD 1:

We don’t actually use that method any more. This is a new development
in job placement strategy from the states. It’s protodisciplinary.

PIKE:

That’s not even a word.

GUARD 1:

I take it you’re generally unhappy working in the corporate environment.


PIKE:

Oh, no, I love it.

GUARD 1:

Sarcastic and disrespectful of authority figures.

PIKE:

You’re an authority figure?

GUARD 1:

I’m just an interviewer. You don’t even remember my name. However, in

our current relationship I am, yes, an authority figure. You’re certainly
reacting to me like I’m one.

PIKE:

Maybe I just think you’re an arse hole.

GUARD 1:

Temper. Would you say you define yourself as a rebel?

MANDY:

It was one of the lecturers. I don’t know in what, but she looked like one,
you know? Not like a mature age student. Cops though. The New Guard.
I think maybe the Chancellor.

GUARD 1:

Hostile certainly. Look, to be honest, I doubt that we can find anything
you’ll be suited to.

PIKE:

Upon which we can both surely agree. However, as you will see from my
CV, I have been doing this since before you were in your first push up bra,
so here’s how it is. You charge the company you hire me out to fifty
bucks. Of that I get eighteen. Your company makes more than fifty
percent commission off my labour. The way I see it, I pay you thirty two
bucks a fortnight for my job, so you will get me the job I ask for. I’m

burnt out from working the phones. I cannot stress how much I can’t go
back on the phones.


GUARD 1:

Okay.

PIKE:

I’d rather not have to communicate with members of the public at all.
There must be hundreds of dead head jobs, data entry, copy writing, I
don’t care. Something I can do without thinking and without human
interaction.

GUARD 1:

I understand that Mr. Pike but you only really have any experience in call
centre work. In fact, your skills would be quite

PIKE:

valued….

The flip side of which is that within half an hour on the phones I will
begin flailing wildly at my co-workers with my swivel chair.

MANDY:

There have been riots on campus before so it’s not like its new, but there

was something about it, something about the way the new guard were
when they were there…

GUARD 1:

I think we’re done here.

MANDY:

I don’t know what this is really, a diary maybe, maybe nothing. Maybe
this is all nothing.

I just… wanted to talk about it but it feels like

something I shouldn’t say to another person. Like it’d be dangerous to
talk about it.

PIKE:

Incidentally, working for a temp agency is what happens to the popular
high school bitches too stupid to marry rich.

2

MUM:

Do you guys eat… you guys eat a lotta pizza right.


PIKE:

I dunno if I’d call it a lot.

MUM:

Oh once every week, some times more than that.

PIKE:

Rarely.

MANDY:

Why Mrs Pike?

MUM:

Mandy, please, you can call me Joan. I’m practically your mother in love.

PIKE:

Nobody thinks that’s cute anymore mum.

MUM:

I don’t mean it to be cute.

MANDY:

Why did you want to know if we eat a lot of pizza Joan?

MUM:

Oh there’s a coupon come through the letter box for two for one pizzas.

MANDY:

Really, where?

PIKE:

Brace yourself.

MUM:

That new American place.

PIKE:

Thank you and good night.

MANDY:

I dunno, maybe. Pike?

PIKE:

Did you take leave of your senses for a moment Mandy?

MANDY:

It’s hard to know these days.

PIKE:

No, we don’t want two for one pizza coupons. I wouldn’t eat a pizza from
there if they were offering free cheerleaders.

MUM:

What’s wrong with them?

PIKE:

What’s… What’s wrong with them? Have you ever eaten a good pizza?
I mean really, I can understand if it’s just straight ignorance, but…

MANDY:

Pike…

PIKE:

Have you had a pizza from a real pizza joint? Like a family owned
business that’s been sitting on that corner in that spot for decades, named
Sophia’s or something, after his wife. Made by young guys who look like
they could just as easily be out the back showing you the giant stereo in
the back of their commodore that lights up neon blue in the dark.

MUM:

Those are dirty.

PIKE:

Cause they don’t windex their front window every morning? Cause they
don’t have a seventeen year old manager? You go to the fish and chip
shop, that’s just as dirty.

MUM:

Oh but that’s always been like that. Make your point.

PIKE:

Have you?

MUM:

No.

PIKE:

Okay. Alright. Why not?


MUM:

They’re expensive.

PIKE:

It’s like the friggn’ depression in your head. Alright, what if I went and
got you a pizza from somewhere good? Would you eat it? I will pay for it.
I will buy you a proper pizza so you at least can make an informed choice.

MANDY:

Let it go Pike.

MUM:

Do you have a licence for that soap box?

PIKE:

You’re a slave. We’re all fucking slaves.

MUM:

Yes dear.

PIKE:

This is how they do it. THIS IS HOW THEY TAKE OVER THE DAMN
PLANET. AM I THE ONLY ONE WHO CAN SEE THIS?

MUM:

Calm down dear.

PIKE:

It’s like the whole planet’s got Stockholm syndrome.

MUM:

This is what cost you your job you know.

PIKE:

No, I realised I was a gas chamber attendant and had to quit.

MUM:

A gas chamber attendant.

PIKE:

Forget it. Forget I even mentioned it, enjoy your pizza.

(MUM goes)


MANDY:

Why are you being such an arsehole?

PIKE:

I hope it tastes like servitude.

3

(MANDY and PIKE sit outside, she is recording him with her Dictaphone.
He speaks into it.)

PIKE:

Like this? Okay. I just think it’s a very tense time at the moment, every
body seems to be at their wits end.

(PAUSE)

You know what this place is gonna be like? See that sun? See how you
can see all the bugs lit up in it? Flitting around, on fire for a second and
then gone somewhere else. It’ll be like that.

(PAUSE)

Alive with the smell of the grass and the dirt, and the herb garden behind
us, and the veggie patch over there, and the fruit trees giving off their
scent and the night alive with birds bedding down. Coupla ducks. Sheep
or two for the wool. Pig.

MANDY:

What are we gonna do with the compost?

PIKE:

Get a bigger bin.


MANDY:

What’s the difference between the one under the house and that one there?

PIKE:

Admitting my mother was right about that one.

MANDY:

Right.

PIKE:

Besides that one’s got a nasty vibe to it. Turns whatever we put in it into
sludge. Black as shit and more alive than Mum, certainly more nutritious,
but does she put it in the ground? No, what does she…

MANDY:

Squeals like a girl and throws it out?

PIKE:

Squeals like a girl and throws it out.

(They laugh. PAUSE, PIKE grows distant.)

They’re not gonna know what to do hey? Most of ‘em are gonna get
caught in it. Whatever it is. Big storm, tsunami, the water war. Who
knows? Could be anything next, I guess.

(PAUSE)

We’ll be out in the country somewhere by then. Off the grid, own power
supply, own water supply, own food.

Be illegal by then, to have your

own resources, be at war with everyone around us. Standing on the roof
with shot guns and homemade nail grenades, house mined for miles
around with hand-built land mines.

(PAUSE)

MANDY:

You get your card today?


PIKE:

Not yet.

MANDY:

You’ll get a fine.

PIKE:

So they’ll fine me.

MANDY:

You could come with me, I’m going down tomorrow for a replacement
before they start charging for them.

PIKE:

Replacement?

MANDY:

Lost my first one already.

PIKE:

It’ll turn up down the back of the couch before long.

MANDY:

Well, then I’ll have two.

PIKE:

That’s illegal, isn’t it?

MANDY:

Might be, haven’t read the handbook properly yet.

(PAUSE)

I’m gonna go in.

PIKE:

Yeah cool.

MANDY:

You coming?

PIKE:

Couple more minutes.


(The sunlight fades on PIKE)

4

(The orange glow and the sound of the protest build slowly until they are
an unbearable riot. At their most chaotic the noise cuts out abruptly and
the lights return to normal, revealing MANDY alone on the stage speaking

into her Dictaphone.)

MANDY:

It’s been six months since Pike disappeared now. His mum stopped being
frantic about it in august. Figures he’s dead. That he was one of the
bodies. She’s just numb now I think.

(PAUSE)

You get used to it. People are there one moment and then they’re gone.
Happens all the time now. Since the riots.

(PAUSE)

I think he’s out there still somewhere. I’d feel it if he was dead I think.
Like a hole torn out where your heart’s supposed to be. Something gone
cold and hard. I don’t feel that. So I know he’s still out there. Like, he’s
one of those who don’t remember. The blast did that to some of them.
They wandered around dazed, not knowing who they were or what
happened. They’re still finding them, you hear about it, so and so was
found sleeping in a cardboard box under the stairs in the St. Kilda
tenements. Joyful reunion. There was one of those on the news last night
actually.


(PAUSE)

Must be horrible.

(PAUSE)

I still feel like I can feel him breathing next to me when I sleep.

(PAUSE)

It’s been about three weeks since I stopped looking for him at night. I
mean, there’s the curfew now. Realistically it’s just not safe to be out on
the streets. You don’t know who’s out there. Its okay on the way home,
the New Guard are there on the main streets, but they can’t be everywhere.
Sometimes, on the weekends I’ve gone out but there’s too much ground to
cover. Melbourne’s a big place. He could be anywhere. That’s if he’s in
Melbourne. Six months. He could have made his way to anywhere by
now.

(PAUSE)

When I stand here in the window, doing the dishes or dinner I catch
myself watching. He used to cook dinner standing here. I keep expecting
him to come past the window, shooing me out of the kitchen.

(PAUSE)

It’s hard, yeah, but yeah, that’s the world now.


5

MUM

I done a good job with that garden, eh?

MANDY

Yeah. Yeah. Could move onto something a bit more…

MUM:

Yep, that looks good. Lots of green, and other colours. Green green
green. And the sleepers, they make it look nice don’t they. Bit better than
all those pots. Yes. Much better. Much, tidier. That’s not important. I
don’t know why that’s important.

(PAUSE)

MANDY

You gonna fill up those holes in between, those gaps?

MUM

Maria says you can’t plant ‘em too close together but I think the closer
you plant ‘em the less likely you are to get weeds. Yeah. But Maria says
that’s the point of the activity, to weed. And you can take cuttings from
anywhere and spread them around the garden.

(PAUSE)

What do you think Pike would have thought of this hey? You think he
woulda liked the sleepers. He liked it when I did that side of the garden,

and then when Maria and I did the front down by the fence and showed it
to him he laughed. Do you think he woulda liked it like this?

(PAUSE)


She’s got me a special rose for him that she’s got ordered from the
nursery. It’s getting delivered and it’s gonna go there in the center of the
garden, I’ve gotta get a concrete circle to go in the ground and the rose,
this rose that Maria’s ordered at the nursery will go there.

(PAUSE)

It’s pretty the way it goes like that. Rose rose azalea rose azalea azalea
rose, rose around the corner.

6

(MANDY and MUM are watching TV.)

MANDY:

I can’t take this anymore, I’m gonna go down the servo and get an ice
cream or something. You want something?

MUM:

Now, but the news is on?

MANDY:

Yeah, I know. Do you?

MUM:

No dear, not for me. Diet.

MANDY:

Right, of course.

MUM:

Do you want to take the car?

MANDY:

Think I’ll just walk.

MUM:

It’s nearly curfew.


MANDY:

I’ll be back before that.

MUM:

But there could be anybody…

MANDY:

Not in this neighborhood.

MUM:

You can never be too careful. That’s the whole point of the neighborhood
watch.

MANDY:

I thought the point of the Neighborhood Watch was to give you an excuse
to peer into each other’s gardens and see how much better off they are
than you.

MUM:

You sound like Pike

(PAUSE)

I think you should take the car.

MANDY:

I’ll be okay.

MUM:

I worry about you, going out at night.

MANDY:

I’ve got my work ID. We’re allowed out at night for work.

MUM:

You don’t think they can cross check that and see if you’re rostered on?

MANDY:

I’m sure they can, I just don’t think they’ll bother. I’m not going to be
breaking the law.


MUM:

It’s not that.

MANDY:

Then what?

MUM:

They said the New Guard think there’s a threat in West Heidelberg.
That’s very near here.

MANDY:

If I get into trouble I’m sure there’ll be one of them around.

MUM:

Look for the blue shirt.

MANDY:

You’re really worried aren’t you?

MUM:

Well, you’re all I’ve got left now after…

MANDY:

I’ll be quick. I promise.

MUM:

Alright. But promise.

MANDY:

I just did.

MUM:

Oh, Mandy?

MANDY:

Yes mum?

MUM:

Bring me back some chocolate?

MANDY:

Of course. What sort?

MUM:

Uh, Freedom Bar, I think.


MANDY:

The new one?

MUM:

That’s the one.

MANDY:

I’ll see if they’ve got any.

7

(MANDY is on the street. GUARD 2 approaches her.)

GUARD 2:

Card.

MANDY:

I’m sorry?

GUARD 2:

Show me your card.

MANDY:

It’s not curfew…

GUARD 2:

It doesn’t have to be.

MANDY:

Alright.

(She does)

Everything alright?

GUARD 2:

This is you?

MANDY:

Unless I grabbed my mother in love’s by mistake.


GUARD 2:

Mother in Love?

MANDY:

My boyfriend’s mother. I live with her.

GUARD 2:

Not married?

MANDY:

No.

GUARD 2:

Unusual.

MANDY:

Not since the fifties.

GUARD 2:

What’s your boyfriend think of it?

MANDY:

He’s one of the missing.

GUARD 2:

Oh.

MANDY:

Everything in order then?

GUARD 2:

Don’t get shirty with me love, just doin’ my job.

MANDY:

It’s a wonder you didn’t say duty.

GUARD 2:

What’s that supposed to mean?

MANDY:

Nothing. Can I go? It’s nearly curfew.

GUARD 2:

It certainly is. Shouldn’t be out so close to it.


MANDY:

She wanted chocolate.

GUARD 2:

I see.

MANDY:

Look, I haven’t done anything wrong.

GUARD 2:

I didn’t say you had. Mandy Lightspeed. Funny name.

MANDY:

Glad you’re amused.

GUARD 2:

Strange, I mean.

MANDY:

I understood. It’s just a name, I didn’t get a choice.

GUARD 2:

Sounds fake.

MANDY:

It’s not. Check your records. The Lightspeeds go a long way back.

GUARD 2:

Never met one.

MANDY:

Well most of them are dead now.

GUARD 2:

Look, there’s no need to be…

MANDY:

I’d just like to get home.

GUARD 2:

Card’s getting battered. You should get a new one issued.

MANDY:

That costs money.

GUARD 2:

Everything costs money. Stuff you’ve got in that bag cost money.


MANDY:

I wanted these.

GUARD 2:

You didn’t want the card?

MANDY:

It wasn’t on my Christmas list, no.

(PAUSE)

I understand the need for it. I accept it. But I don’t want to buy a new one
till I have to.

GUARD 2:

Alright Mrs. Lightspeed, I’ll walk you home.

MANDY:

That’s not necessary.

GUARD 2:

Reports of dangerous individuals in the area. The Guard are considering
extending the curfew in this area.

MANDY:

In Heidelberg?

GUARD 2:

That’s right.

MANDY:

That’s ridiculous.

GUARD 2:

Can’t be too careful.

MANDY:

That’s the motto.

GUARD 2:

Come on, I can’t stand here talking all night. Let’s go.


(PAUSE)

MANDY:

Alright, it’s further down this street.

GUARD 2:

Three blocks and turn left, I know, it’s on the card.

8

(MANDY is silhouetted in the door to the house. The lights are dim on
stage.)

MANDY:

You’re not going to believe what just happened. Actually you probably
are. First the machine at the store wouldn’t recognize my credit card and
then…

(PAUSE)

Mum, did you knock the dimmer switch again?

(MANDY turns the lights back up and reveals a battered PIKE curled up
on the floor with MUM worrying over him.)

MUM:

I heard a noise at the door. I thought it was you, or maybe the cat geting
into the bins again. But when I opened the door…

MANDY:

Pike?

MUM:

He hasn’t said anything yet.