Theatre from the cracks in the psyche of culture










Cathedral Song

Imagine you had a dream where you were someone else caught in a massive drama that 
left you shaking when you woke up. You try to explain your dream. But it is fragmentary. 
You remember the walls and the darkness of a huge and ancient Cathedral where Angels 
were carved from the stone.

You remember having a revelation about your life and the lives of others who were in some
way significant to you. Your whole being has been affected by this dream. You were 
shaken when you awoke. Now, you try to recall what you dreamt and you try to work out 
what it all meant.

It was the sound and the darkness. I could feel my soul as if it was as real as my arms or my legs. I could really feel her surrounding me amongst the beams of light through the windows. I heard her soft and gentle whispering from the darkness. Her breathing on my skin! And I liked her. I loved her.


Cathedral Song features the haunted worlds of drug addiction and the search for meaning set against the back drop of pragmatic religious institutions that are themselves struggling in the new era of globalization and real politics.

Sample Text:

They slowly move away to stationery positions. The Old Women suddenly continue with their CHANTING and move in procession. Jessie now slowly manages to sit up. The pain is still there but she gains her consciousness. The Statues are still and silent.


Ever since I was a little girl, I used to love the way those voices just drifted and floated around the air in the Cathedral. (Pause) It's not a religious thing you know. I'm not religious. My Aunty Mary was religious. She used to play the pipe organ. She's dead now. Died years ago when I was little. But she used to take me here. I hadn't been here for years. Then one day I just snuck in. A trap door's lock was broken. Still is! (Pause) It was the sound and the darkness! I could feel my soul as if it was as real as my arms or my legs. My heart! I could really feel a kind of magic surrounding me amongst the beams of light through the Angels pictured in the windows. I could feel their emotions and their approval of me sculptured in stone . I heard their soft and gentle whispering from the darkness. And I liked it. I loved it. It was like: like a mother. And I was a child. She offered me the one place where I didn't have to pretend; or act like I was stupid and: She let me sing. ME. My crappy voice sounded so beautiful. I felt beautiful. I felt sensual. Like I didn't have to put on a face and play games. I heard my voice. And I saw myself in those windows: those beautiful windows of sorrow, kindness and such pain. They know pain and fear. I know fear every day now. But they know my fear. (Distracted) Ah look, I know what you're thinking. You're thinking I was high and tripping out. You're thinking I was hallucinating and doing drugs. Isn't that right? Well, I'll tell you what, I never did that shit in here. Never. I could've done. But I didn't. Never. That would have contaminated everything. I was clean in here. I wouldn't do that. Guy, my boy friend, he wanted me to. He couldn't see that it was my place. My space! Me! And yeah! All right, he made me shoot up with him once. I hated him for it. But I never did. It wasn't me. You know, it wasn't me. (Pause) I'm sounding like a junkie. Aren't I! Well that's what I am. I don't want to be. I never wanted to be. But it's what I've become.

(She shivers)


Cathedral Song

by Joe Woodward

Presented by Daramalan Theatre Company at The Street Theatre,

Song: Life And A Stranger
written by Joe Woodward and featuring Colleen Jitts
performing on the final night of the original production (Sat 26 Oct 2002)

October 23-26 in 2002

Get your FREE copy:

Production licence for schools and amateur groups is no FREE. It has been most gratifying to hear of small scale productions taking place in areas without charge.

And, to be sure, the prime criteria for letting out the licence is a passion for the material and a desire on the producer's part to challenge audiences and the respective cultures where the work is to be performed. None of the Shadow House PITS scripts are mere entertainments. All are conceived within the context of personal, social and cultural challenge. You are invited to join us on this quest by producing one or more of these works within your own cultural and community context. Let me know if you find any other offerings on the Internet that have the same or similar aims.

Browse more Shadow House PITS scripts here.

            Trinculo's Shadow

Receive our new Trinculo's Shadow newsletter directly by subscribing to us. Read information about issues and events from local, national and international groups who:

  • use theatre to explore the human condition

  • venture into the very psyche of cultural and personal expression, and

  • are interested in exploring the mysteries of life and social/cultural interaction.

To receive your copy and read provocative theatre articles and receive information about scripts, workshops and performances from Shadow House PITS, please sign up here as a subscriber.

To subscribe, click here and complete the simple form.