It is possible to imagine this room, because you have been in it before.
Even if that ‘before’ were long ago in the days of school pageants and counting sheep.

The contours of the room are familiar.
Even if what once was a curtain has fallen away in the tide of recent history.
You remember it, and it fills you with a sense of warmth
And perhaps too a sense of dread.

Because what you remember about this room
Is that it asked something of you,
Something you did not expect,
Something that you did not entirely wish to give,
And it also sometimes made you angry, bored, and restless –
And sometimes too filled you with such longing
That tears would fall despite your best efforts to stop them.

This room is quiet most the time, but it is also full of noise.
‘Good noise,’ because sometimes noise is good,
And it draws you in
Even when you say to yourself ‘this will be the last time.’

At first you think it is the darkness of the room
That calls to you,
But only after you have been in it a while
Do you realize it is something else –
Something perhaps that has nothing to do with the room itself,

Because really, it is not a room at all,
That is just a word, a term, a way to describe it to others
When you don’t know what else to call it –
Or when you do not wish to call attention to it too much –
Because if you were to really tell, well,
It might just fill the world –
And then what would you do?

So, for now, you say ‘this room,
And ‘this darkness’
Because people understand what these words mean
Most the time
And something in you craves meaning,
Despite the fact that you know
Meaning is something shared;
But, hey, it’s good to pretend, right?
Sometimes in this room and this darkness
Pretense is all you have, and you revel in it,
Though

In these dark times,
In this dark theatre,
Perhaps revelling in pretend
Is really not what you should be doing,
Not at all,

Really, you should be out in the streets,
Doing things,
Real things,
Things that matter…

But here’s the thing,
And you can be lowercase about this if you want,
But this,
This work of pretend,
This revelling,
And sometimes just being with,
Matters,

And it matters because it matters

To those that remember the room
And those in the room
And those that will walk into the room someday
And even those that never even go into the room

It matters
Because it is a game of matter –
Atoms and particles and such –
And this game of pretense holds truths
As much as it holds what some call ‘lies’

And it matters because
What gets said in the room
And how things move in the room
And where the light falls
Makes a kind of meaning,
Which is being, by another word,

And this being
Reminds you of the possible
And the impossible

And also too of the small-minded ones
That would rather this room be held by four walls
And be grounded into its own groundedness,

Than see this room for what it is
For what it has always been
For what some of us,
You and I, here under the canopy of stars,
Know to be true

Even here, in the dark theatre,
Battling its own darkness,

A field,
          of light.

About the Author

Caridad Svich is a playwright/text-builder, theatre-maker, translator, lyricist, editor, and educator. She received a 2018 Tanne Foundation Award, the 2012 OBIE Award for Lifetime Achievement in the theatre, a 2018 NNPN rolling world premiere for RED BIKE, 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based on Isabel Allende’s novel, and the 2018 Ellen Stewart Career Achievement in Professional and Academic Theatre Award from Association of Theatre in Higher Education. Her works are published by TCG, Smith & Kraus, Playscripts, Broadway Play Publishing, and more. She has edited several books on theatre and serves as associate editor at Taylor & Francis’ Contemporary Theatre Review, where she also edits their Backpages section. Svich is alumna playwright of New Dramatists. She holds an MFA in Theatre-Playwriting from UCSD, and she also trained for four consecutive years with Maria Irene Fornes in INTAR’s legendary HPRL Lab. She teaches creative writing and playwriting at Rutgers University-New Brunswick and Primary Stages’ Einhorn School of Performing Arts. She has also taught scriptwriting at The Dramatists Guild, Bard, Barnard, Bennington, Denison, Ohio State, ScriptWorks, UCSD, and Yale School of Drama. www.caridadsvich.com