The Yellow Letter

Genre: Drama

Period: 1916-1917

Place: Australia/Western Front

Length: One Act

Characters: 4 M; 2 F (and additional male voices)

Warnings: Use of strobe lighting and smoke machine; some coarse language

Synopsis
Susan is stuck at home, while her beloved Edward is away fighting in France (in the 1st Infantry Brigade, 11th Battalion). She is heartbroken when she gets a letter from the Army saying that he has been killed (during the Battle of Pozières). However, it transpires that the letter was sent in error, and that he is still alive, but seriously injured. When Edward returns home in a wheelchair, he is angry with the world that put him in such a situation, and begins to push Susan away, because he believes that she is only staying out of pity, and that she will begin to resent him. But she promises to stand by him. Slowly, she helps him realise how lucky he is that he is still alive, even if he is going to spend the rest of his life in a wheelchair, and he asks for her hand. This script is dedicated to those who fought in WWI.

“At the going down of the sun, and in the morning, we will remember them.”

Characters
Susan Gardiner – 18-21

Edward Freeman – 22-25

Nurse – 25-30

Reverend – 50-60

Soldiers (2 delivering the notice (optional); 2 others as voiceover) – can double as backstage crew

Officer (Voiceover only)

Premiere Production
The Yellow Letter's premiere production was directed by Luke Heath at the Roxy Lane Theatre, in Perth, Western Australia. It featured the following cast:

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Set Design
Because this piece is driven by what is said and done, the set needs to be shown using only minimal furniture.
 * Scene I: Hospital bed
 * Scene II: Writing desk and chair/couch
 * Scene III: Couch; Table (with whisky decanter and glasses)
 * Scene IV: Couch; Table (with whisky decanter and glasses)

Lighting

 * I: The dialogue with the nurse is at night, so low lighting would be used, with shades of blue indicating the time.
 * II: Susan’s writing desk can be individually lit to show the distinction between that segment and the standard wash for the scene in the rest of the room.
 * III: When Edward returns, the light is a low standard wash; when Edward is sleeping on the couch, the lights are low to distinguish the flashes of lightning in the storm.
 * IV: standard wash

Sound

 * I:
 * II:
 * III: sounds of the battle and storm; the second burst of machine gun fire slows, as if things are happening in slow motion behind the flash of white light.
 * IV: clock chime;
 * <p class="MsoNormal" style="text-align:justify">Epilogue (curtain call): Last Post

Projections
As a prologue two slides are projected on the screen:


 * <p class="MsoNormal" style="text-align:justify">August, 1915
 * <p class="MsoNormal" style="text-align:justify">Months of hard fighting have left both sides battered and weary. Despite defeat at The Nek, the Anzacs have gone on to launch a direct assault on the Turkish trenches at Lone Pine.

During the curtain call, a sequence of slides is projected (accompanied by The Last Post on bugle), saying:


 * <p class="MsoNormal" style="text-align:justify">Edward and Susan had one son, also named Edward, as was the family tradition. Despite the concern of his parents, young Edward followed in his father’s footsteps and joined the AIF and went on to serve in North Africa.
 * <p class="MsoNormal" style="text-align:justify">Meanwhile Edward took up a post with the General Staff. He went on to join the Intelligence Corps on its reformation in 1939.
 * <p class="MsoNormal" style="text-align:justify">Susan continued her good work with the other wives and daughters, providing supplies for their men.

They shall grow not old, as we that are left grow old:

Age shall not weary them, nor the years condemn

At the going down of the sun and in the morning,

We will remember them.