Young Playwrights

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THE SAMURAI IN THE BRIGHT PURPLE DRESS by Sam Shea

This play won second place in the first annual Metro Milwaukee Young Playwrights Competition. The author, Sam Shea, attends Pius XI High School. The play was directed by Todd Denning of First Stage Children’s Theater and Milwaukee Shakespeare, assisted by Jessica Woodburn, University of Wisconsin-Milwaukee student.

Contact the author via e-mail .

The original cast is as follows:
HIROTOSHI: Greg Scharine, Pius XI High School
NARRATOR HIROTOSHI: Sam House, Pius XI High School
FATHER: Dominic Inouye
MOTHER: Jan Seybold
SAMU: Nic Cable, Milwaukee High School of the Arts
UMA: Ploen Sopitpongstorn, Pius XI High School

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The Samurai in the Bright Purple Dress
By Sam Shea

CHARACTERS:
HIROTOSHI: An adolescent Japanese boy who experiments with cross-dressing. He is having a large identity crisis. Very mature for his age and is burdened by that.
N.HIROTOSHI: HIROTOSHI and N. HIROTOSHI are the same person although N. HIROTOSHI is HIROTOSHIS unconscious. Nobody responds to N. HIROTOSHI because when he speaks it is HIROTOSHI thinking.
MOTHER: Her only wish is for her family to get along and be happy. She is regularly conflicted between being a supportive mother or an enforcing mother.
FATHER: Very conservative, lives on honor and the tradition of the Japanese lifestyle.
SAMU: A local bully.
UMA: She and HIROTOSHI have been friends since they were young. When the entered junior high school they grew apart and she regrets that.
ENSEMBLE: Kids playing the game with SAMU. The ENSEMBLE includes RAY, DOGAN, SANFOD, and ANGELA. Ideal size is ten.

• NOTE: Watashi wa kirei desu translates to “I am pretty”.
• NOTE: The game played in SCENE THREE is Bosan ga Hewo koita: The demon faces away from the other players and then chants: “Daruma san ga koronda”. An American version of this game is red light, green light.
• NOTE : The drumbeat in SCENE SEVEN is to signify HIROTOSHIS heart beat and to add more tension to the scene. As HIROTOSHI prepares to enter the, drumbeat quickens. A Wadaiko drum is ideal for this scene or any other traditional Japanese drum.

SCENE ONE

(HIROTOSHI and N.HIROTOSHI are both in the bathroom. N. HIROTOSHI dressed in all black. HIROTOSHI is squirming on the floor, trying to fit into the Bright Purple Dress.)

N. HIROTOSHI: It has been thirty two days since I’ve started wearing the bright purple dress. It has been seventeen days since I have been putting on makeup. It has been four days since I’ve tried on undergarments. It was today that I embraced who I am. I had sunk deeper and deeper into something that I am not, yet I was made to be. Prisoner to the kimono, prisoner to codes of honor, prisoner of being Japanese. I am the same as any other person I see. I act the same and we all look the same. But when I dash into the bathroom with my bright purple dress dragging behind, I am not the same kid. (HIROTOSHI finally stands up and looks at his reflection in the mirror)

FATHER: (offstage) Hirotoshi? Are you done yet? You’ve been in there for 30 minutes!

HIROTOSHI: Yes, father. (slightly lowers voice) Uh, one moment. (Hirotoshi scrambles to take off everything and change into a Kimono. He hides all evidence of his doings under some clothes in a laundry basket and quickly exits with the laundry basket under his arm. N.HIROTOSHI watches HIROTOSHI disappointedly but remains in the bathroom)

FATHER: (offstage) Hirotoshi, come back here. Hirotoshi! (FATHER enters bathroom)

FATHER: What’s gotten into him (notices smear on the floor from makeup but disregards it)

N. HIROTOSHI: Watashi was kirei desu.

Blackout

SCENE TWO

(HIROTOSHI is sitting down eating a bowl of rice in the eating room. HIROTOSHI is wearing a traditional kimono, whereas N. HIROTOSHI is stage back, wearing the Bright Purple Dress)

N. HIROTOSHI: I remember the day I found the Bright Purple Dress. One night when they went out for Wadaiko Drumming. Having nothing better to do, I searched their room. Like the other rooms, I found it to be bland. From the teak shelves to the tatami bed. The dim light glared in from the shoji, casting long boring shadows across the room. I moved towards the reed closet doors and slid them open to explore. Naturally, I found kimono after kimono after kimono. I grazed my fingertips against the first silk kimono I saw. Unfortunately, I was accustomed to this sensation. Gradually, I pulled each one back, getting closer to the back of the closet, which was deceptively deep. As I pulled back the last black and white kimono, out beamed the bright purple dress. (Walks over to HIROTOSHI and puts his hand on his shoulder. MOTHER enters, carrying a laundry basket)

MOTHER: Good morning, Hirotoshi. (HIROTOSHI eats in silence and continues to stare into his bowl)

MOTHER: (Sets laundry basket down on the table) I said, good morning, Hirotoshi.

HIROTOSHI: Hello.

MOTHER: How did you sleep?

HIROTOSHI: Fine.

MOTHER: Have you had enough to eat?

HIROTOSHI: Yeah.

MOTHER: How has school been?

HIROTOSHI: Okay.

MOTHER: I spoke with your teacher the other day. She says your marks have been down. (Long pause) Hirotoshi? Is there an explanation for this?

N. HIROTOSHI: I’m not sor-

HIROTOSHI: Sorry.

MOTHER: Hirotoshi, I’m not looking for an apology. I just, I just want to help you. Look, I know starting junior high school can be difficult; it was hard for me too. (HIROTOSHI peaks his head up to look at her) But junior high school is very important to getting into a good senior high school and that is important for when you go to a university. (HIROTOSHI goes back to staring at his bowl)

HIROTOSHI: I know, Mother.

N. HIROTOSHI: Father’s only been telling me that for the past 5 years.

MOTHER: Well, Hiro, if you knew that, then why aren’t your marks exceptional? You know how hard it is to get into a good law university these days. The better the university, the better the lawyer you’ll be.

HIROTOSHI: I know, I know. The better the lawyer, the more I’ll get paid. Father and I have had this talk before.

MOTHER: Your Father just wants what’s best for you.

N. HIROTOSHI: Obviously I’m not good enough for-

HIROTOSHI: Myself? (Pause) It really doesn’t feel like Father wants what is best for me sometimes.

MOTHER: Nonsense. You know how hard your father works. He’s worked hard his entire life to get the job that he has. He did it all so you could have the opportunity to work hard and get an even better job, just like his father did for him. There is a lot of pride in our family, Hirotoshi.

HIROTOSHI: I’ve noticed.

MOTHER: Your Father, just, gets…frustrated sometimes. You are his only child; he just has a hard time dealing with everything, but he loves you Hirotoshi.

HIROTOSHI: No. You’re wrong! He doesn’t love me. He doesn’t know me, and, and, and I’m surprised he knows my name!

MOTHER: Hirotoshi! Stop that this instant. Where is this coming from? Of course he knows your name. He was the one that named you.

HIROTOSHI: He didn’t name me Hirotoshi, he labeled me Hirotoshi.

MOTHER: Honestly, Hirotoshi. You are being so rude! You have been so disrespectful lately. (Pause) Look, Hiro, I didn’t mean to yell. I know this is such a hard time for you. It’s hard for me too, I’m stressed as well. (Pause) it’s just been a long morning and, well, your father couldn’t get his car started today and he was late, again. (Pause) Well, you know what happens when he’s late and how he is. I’m sorry Hirotoshi. I want you to be able to talk to me, so I shouldn’t yell. (Pause) Ah, and this laundry. (Long pause) Say Hiro, does this kimono belong to you or our father? (MOTHER holds up kimono, HIROTOSHI stands up looks up looking very upset again. Immediately when he gets up, N. HIROTOSHI picks up the bowl drops it. They both storm out and his mother is alone. Looking stunned, she goes over to the table and begins to clean up the broken bowl. She begins to weep and covers her face with her hands. N. HIROTOSHI comes out and puts his hands on her shoulders)

N. HIROTOSHI- Watashi wa kirei desu.

Blackout

SCENE THREE

(Lights up and they are at school during a recess or free time. The kids are playing Bosan ga Hewo koita. HIROTOSHI sits in isolation looking uncomfortable about being the only one not playing the game. N. HIROTOSHI stands near HIROTOSHI, eagerly watching everybody playing. N. HIROTOSHI is wearing the Bright Purple Dress)

SAMU: (the self appointed “ demon”. He turns around, calls out the chant, and the game begins) Dogan, I saw you move.

DOGAN: I wasn’t moving (grumbles and walks off to where the “out” section is, the game continues)

SAMU: Yeah, and uh, I saw you, too, Ray (RAY grumbles and slumps off to the “out” section. The players draw closer to him and he turns around a second time and chuckles) Angela, you’re out! Sanfodo, way out! (They leave the game and HIROTOSHI turns around to see what the yelling is about.) Hirotoshi, you’re out too. Did you think I was going to miss that?

N. HIROTOSHI: You idiot. I wasn’t even playing. (HIROTOSHI continues to stand his ground)

SAMU: Hey, Hiro. Hhhirroottooshii. You are out. Are you deaf?

N. HIROTOSHI: Are YOU blind?

HIROTOSHI: I wasn’t playing.

SAMU: (Snickers) Yeah, sure. Of Course you weren’t. Get out. Now!

N. HIROTOSHI: Shut Up!

HIROTOSHI: (Under his breath) Shut up.

SAMU: What did you just say? (Walks toward Hirotoshi) Repeat that!

N. HIROTOSHI: SHUT UP!

HIROTOSHI: Nothing, I’m just standing here, okay? I wasn’t playing your stup- I wasn’t PLAYING your game, OKAY? (SAMU is still walking towards him and isn’t slowing down. When he reaches HIROTOSHI he punches him the arm and pushes him towards the box. Immediately after Hirotoshi gets punched, N. HIROTOSHI rubs the area of his arm where HIROTOSHI got hit. N. HIROTOSHI raises his fist and begins to advance upon SAMU but HIROTOSHI blocks him.)

SAMU: If you’re going to stand on my ground you’re going to play my game. Okay? So get over there! Some Hiro you are. (SAMU walks back and continues to play. HIROTOSHI walks over to the “out” section and sits in the corner followed by N. HIROTOSHI. UMA sees him sulking and leaves the game to go to him.)

UMA: Hiro, Hiro are you all right?

N.HIROTOSHI: I am now. (Shoots Uma a suave look)

HIROTOSHI: Yeah, I’m fine. Thanks.

UMA: Why didn’t you just go out, Hirotoshi?

N. HIROTOSHI: Not again…

HIROTOSHI: Because I wasn’t OUT, I wasn’t even playing!

UMA: Well, why didn’t you just play in the first place?

N. HIROTOSHI: Why don’t you just mind your own business.

UMA: Hirotoshi, we’re all playing, all of us, and we are all having fun. Come and just play.

HIROTOSHI: I’d rather be punched than play.

UMA: (Frustrated) I don’t GET you Hirotoshi. You do this to yourself.

HIROTOSHI: I do this to myself? Did I do this to myself? (HIROTOSHI and N. HIROTOSHI point to the bruise their arms)

UMA: No. (The game ends, SAMU and ENSEMBLE exit)

HIROTOSHI: Well, I guess I don’t know else to do, Uma.

UMA: (Grows sympathetic) Oh Hiro, what’s happening to you? I remember how happy you were last year, at the other school. Do you remember that Hirotoshi? (HIROTOSHI avoids eye contact) We’d always walk around town together with our class, all of us wearing our little yellow uniforms. You were always the one to hold my hand to make sure I didn’t get lost. (HIROTOSHI looks up, grinning)

HIROTOSHI: Somebody needed to watch out for you.

UMA: Oh, is that so! I believe it was me that stopped you from getting hit by that motor, Hirotoshi. (HIROTOSHI laughs)

HIROTOSHI: We always have been there for each other, I guess things change, though.

UMA: Or people change. (Hirotoshi stops grinning)

N. HIROTOSHI: You know me too well, Uma.

HIROTOSHI: What do you mean by that?

UMA: Hiro, it’s pretty obvious, you’ve changed, and I hardly recognize you anymore. You don’t talk to anybody, you don’t play games, and I never see you at any of the city events. Plus there is something different about you. The way you move now. (UMA slowly begins to move towards HIROTOSHI) The way you look at things. The way you don’t look at things. The way you just wrap your eyes around one thing and stare. Like you have a lot on your mind. (Uma is finally parallel with HIROTOSHI, only a few inches away, long pause) Like you’re carrying a large burden (Uma affectingly strokes HIROTOSHI’S face, then realizes there is something on HIROTOSHI’S face. Uma looks at her hands and realizes she rubbed makeup off HIROTOSHI’S cheek).

UMA: Hirotoshi? (HIROTOSHI walks away from UMA)

HIROTOSHI: Look, you don’t understand! It’s just-

UMA: Hirotoshi?

N. HIROTOSHI: I’m not confused, I’ll tell you. (UMA stares as Hirotoshi as he looks down ashamed) I’m different Uma, I’m not the old Hirotoshi, I’ve grown out of that, I’ve grown bigger, I’ve grown bigger then conventional, I’ve grown bigger then traditional, I’ve grown bigger then the name Hirotoshi. I used to be afraid because I did not know who I was. Now I realize that it’s when you have no clue who you are that you’re closest to yourself. It’s you that’s confused Uma! It’s people who are so content I knowing who they are, that are the farthest away from true peace of mind. Maybe my life’s chaos, but I’ve found truth in chaos.

UMA: What’s going on Hirotoshi? I, I don’t-

HIROTOSHI: Nothing is going on.

N. HIROTOSHI: DON’T SAY THAT, HIROTOSHI! Tell her the truth! (N. HIROTOSHI walks to UMA) She’ll understand Hirotoshi.

UMA: Whatever it is Hirotoshi, I won’t judge you for it. You just have to tell me. (N. HIROTOSHI and UMA begin walking toward HIROTOSHI, gradually backing him into a corner).

N. HIROTOSHI: This is your chance. It’s much easier for two people to carry a burden than one.

UMA: We’ve grown up together, Hiro. I don’t want us to stop growing. Just tell me what you’re thinking.

N. HIROTOSHI: HIROTOSHI, SHE WANTS TO-

HIROTOSHI: (to UMA) -help me.

UMA: How can I? Just tell me how.

HIROTOSHI: By, by, (looks at N. HIROTOSHI) by just, (looks at ground) by just leaving me alone. (HIROTOSHI walks away from them. N. Hirotoshi looks disgusted and Uma looks dumbfounded)

UMA: (long pause) Yesterday, in class Hiro, we learned a prayer.

HIROTOSHI: The Shinto prayer?

UMA: Yes, the prayer for peace.

HIROTOSHI: What about it?

UMA: You need it. Peace of mind. You need peace of soul. I don’t know, you just need peace, Hirotoshi.

HIROTOSHI: The last thing I need is a stupid prayer.

UMA: (Begins reciting the poem) Although the people living across the ocean surrounding us, I believe, are all our brothers and sisters, why are there constant troubles in your world?

HIROTOSHI: (Sighs and continues prayer) Why do winds and waves rise in the ocean surrounding me?

N. HIROTOSHI: (Ends the prayer) I only earnestly wish that the wind will soon puff away all the clouds, which are hanging over the tops of the mountains.

UMA: Goodbye Hirotoshi, (Pause) I just hope you haven’t said goodbye to yourself yet. (UMA exits)

N. HIROTOSHI: (Furiously looking away from HIROTOSHI) Watashi wa kirei desu.

Blackout

SCENE FOUR

(MOTHER and FATHER are in the sacred teahouse; they are bent over praying, in silence. HIROTOSHI enters and is followed by N. HIROTOSHI who is still wearing the Bright Purple Dress)

HIROTOSHI: Father, Mother. Please excuse my behavior before. I acted completely inappropriately.

FATHER: Yes, you did. You threw a tantrum like a baby

MOTHER: But let us not concentrate on the bad, because tonight is the parade. Can you believe it’s been a year already?

FATHER: We are all going, Hirotoshi.

HIROTOSHI: Fine.

FATHER: Aren’t you looking forward to the parade, Hirotoshi?

MOTHER: You used to always look forward to it. You used to be so excited this time of the year.

FATHER: But instead you look so gloomy. (HIROTOSHI doesn’t respond) I remember when my Father used to take me. We’d go every single year. Aren’t you looking forward to it, Hirotoshi?

HIROTOSHI: Yes.

N. HIROTOSHI: (to HIROTOSHI) NO!

HIROTOSHI: It’ll be nice. Call for me when you’re ready.

N HIROTOSHI: You’re WEAK Hirotoshi! You’re a weak, weak boy! How could you pretend to look forward to it? It’s the same every year. It’s the last thing you could possibly want to see. It’s the same routine every year. (HIROTOSHI exits) No! No! No! You two don’t understand me; I would never want you guys to— I don’t want you guys to see me! You’ll never understand, you don’t care to. The last thing I would like is to go to a parade! I’m sick of everything. I’m tired of kimonos, I’m tired of this house, and I’M just so, so tired of everything. And you! (Shouting out the door that HIROTOSHI exited) Go run and hide, go run and hide in the bathroom the rest of your life, you’re WEAK, you’re PATHETIC! (Pause) Watashi wa kirei desu.

Blackout

SCENE FIVE

(HIROTOSHI is sitting in the bathroom wearing the Bright Purple Dress. N. HIROTOSHI is sitting as well. They are both sitting on the ground and leaning on each others backs)

HIROTOSHI: Sorry. (pause)

N. HIROTOSHI: Do you want to sit on this cold floor forever?

HIROTOSHI: What?

N. HIROTOSHI: Do you feel how cold it feels against the floor. A dress like this isn’t meant to be pressed against a floor this cold.

H HIROTOSHI: Then what do you suggest we DO?

N HIROTOSHI: Leave, get out of here.

HIROTOSHI: I couldn’t.

N. HIROTOSHI: Yes, you could. And I could. And we will.

HIROTOSHI: What’s so good about the outside? I mean, why go out there? I am perfectly fine in here. I am content.

N. HIROTOSHI: Content with what? What do you have that you can be content with? Look at the dress. Look at it! Look how beautiful it is. Do you think a dress that shines like that is meant to be locked in a bathroom? No! You have to leave this bathroom and show everybody how beautiful the dress is. You also have to show everybody who you are. Just because nobody else is wearing a Bright Purple Dress, doesn’t mean you shouldn’t be! Is this your idea of being Hirotoshi? Is this your idea of being?

HIROTOSHI: You don’t get it, I can’t just walk up to mother and father let them see how big of a freak I’ve turned into.

N. HIROTOSHI: And why not?

HIROTOSHI: BECAUSE IT’S NOT HONORABLE.

N. HIROTOSHI: What’s more honorable then being yourself? (N. HIROTOSHI proceeds to go over to door and open it up. HIROTOSHI paces and contemplates and finally walks out the door to the hall way, wearing the dress)

N. Hirotoshi: Watashi wa kirei desu

Blackout

SCENE SIX

(Lights up as HIROTOSH: is standing frozen in the hallway in the Bright Purple Dress. N. HIROTOSHI soon walks out of the bathroom, also wearing a Bright Purple Dress)

HIROTOSHI: Where should I go next, huh? Where are my parents? What will they do to me? What will they say to me? Will they love me still? Did they love me before? Should I even continue with this? Why am I standing still in the hallway? Are all pantyhose this uncomfortable? Am I wrong to be doing this? What will Uma think of this? Or am I gay? Does it matter? Do all dresses itch this much? What determines who and what we like? Are there other ways I can be different? Why do I feel so sad? Why do I try so hard to not be what people want me to be? Why did my mom hide the bright purple dress? What was her life before she met my father? Why did she have it? I have honored but why can’t I take another step? I have honor but why can’t I take another step? (Picks up Kimono laying on the ground and examines it) Why am I a samurai trapped in a bright purple dress? (N. HIROTOSHI rips the dress away from his grasps and throws off stage, then proceeds to lean back against door as HIROTOSHI tries to open and exit but can not because N. HIROTOSHI is blocking the door) And, and, where should I go next? (N. HIROTOSHI pushes him forward down the hall and HIROTOSHI doesn’t resist. Eventually HIROTOSHI starts to walk by himself and begins to increase the pace as he exits. Moments after, HIROTOSHI runs in opposite doors, entering the kitchen)

HIROTOSHI: They aren’t here.

N. HIROTOSHI: You know where they are

HIROTOSHI: Yes, yes I do.

N. HIROTOSHI: Then why stand there? Go to them.

HIROTOSHI: I came this far, it’s far enough.

N. HIROTOSHI: You know what mom always says: Beginning is easy, continuing is hard. Look. We are who we are; there is no turning back for us.

HIROTOSHI: You’re right… and you know what dad always says: if you want a thing done well, do it yourself.

N. HIROTOSHI: We will. (HIROTOSHI exits towards tea garden and N. HIROTOSHI exits behind and turns around before exiting) Watashi wa kirei desu.

Blackout

SCENE SEVEN

(Lights up and we are back in the teahouse. MOTHER and FATHER are kneeling sipping tea in silence. They are in the middle of performing an elaborate tea ritual. HIROTOSHI peers into the teahouse and drums begin beating. HIROTOSHI hesitates and contemplates returning to the bathroom, but he takes a deep breath and N. HIROTOSHI pushes him to the room. The drumming suddenly ceases)

N. HIROTOSHI & HIROTOSHI: (bows) Mother, Father. Watashi wa kirei desu. I am pretty.

The End

Copyright © Sam Shea. This work may not be reproduced without express, written permission from the author.