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Conrad A. Panganiban

Conrad A. Panganiban

playwright | conradap@gmail.com

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Take Me Or Leave Me… Scene

Posted on 08/12/2007 by Conrad

This is a exercise on taking a monologue from a musical and remixing it as dialogue between two people.

===================

Take Me Or Leave Me
Adaptation from Jonathan Larson’s RENT

MAUREEN
Joanne, what’s wrong? I didn’t stay and dance at the Clit Club last night, ’cause you wanted to go home…

JOANNE
You were flirting with the woman in rubber!

MAUREEN
That’s what this is about!? There will always be women in rubber, flirting with me… Gimme a break.

JOANNE
Maureen, I’m asking you to remember that you’re with me.

MAUREEN
There is only you.

JOANNE
Then don’t flirt.

MAUREEN
What? That’s a part of who I am.

JOANNE
A skank?

MAUREEN
But I’m your skank.

JOANNE
That’s exactly what I mean. Can’t you take yourself seriously? Can’t you take US seriously?

MAUREEN
I am serious… just not all the time like you. Pookie, can’t we just have just have fun?

JOANNE
Don’t call me Pookie!

MAUREEN
What?

JOANNE
All I’m saying is that I want to be yours, and not some nickname that you call all your other skanks.

MAUREEN
Where’d you hear that from?

JOANNE
From Mark. Your ex-boyfriend told me that you called him, and apparently all the other people you slept with, Pookie.

MAUREEN
Fine. I won’t call you Pookie anymore!

JOANNE
And no more flirting with women in rubber.

MAUREEN
Again with the rubber women! Joanne, I walk down the street and men, and women too, yell out, “Hey baby! You lookin’ sweet!” I can’t help that.

JOANNE
Well, you don’t have to acknowledge them.

MAUREEN
What would you have me do just walk on by?

JOANNE
Yes.

MAUREEN
Just in case you didn’t hear me the first time (Pantomimes sign language and speaks) “This is who I am!” I will stop and say hi and let them know me, something that you just don’t get.

JOANNE
I know who you are because that’s what attracted me to you in the first place when I saw you on stage. But do you ALWAYS have to be in the spotlight?

MAUREEN
And be a droll, yet lovable, geek like you? Jesus, why do you have to be so anal?!

JOANNE
Well, this is who I am. I make lists in my sleep. I follow through on my promises. And also unlike you, I need to see what I’m leaping into instead of just putting on a blindfold, wear a stupid smile and just jump.

MAUREEN
You didn’t mind the blindfold the other night. (pause) My point is that every night I’m in bed with you and that should at least count for something. Don’t you see how lucky you are?

JOANNE
Lucky I am?! Me? Lucky? With a mess you?

MAUREEN
Alright, that’s it! I quit! (gathers some of her stuff) All I was asking was for you to take me for who I am… and you couldn’t even do that. I’m leaving.

JOANNE
Fine!

MAUREEN
I’m gone!

MAUREEN exits.

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Headshot of Conrad A. Panganiban

Conrad A. Panganiban (he/him/his) is an award-winning Filipino American playwright representing the San Francisco Bay Area. His plays include Daryo’s All-American Diner, Welga, and River’s Message. Conrad’s work has been produced by Bindlestiff Studio, The Chikahan Company, CIRCA Pintig (IL), the MaArte Theatre Collective, and CATS (Contemporary Asian Theatre Scene) . Awards include: Best Play of 2023, Daryo’s All-American Diner (BroadwayWorldAwards Chicago), Best New Play, Daryo’s All-American Diner (Chicago Reader, Best of 2023), Susan Fairbrook Playwright Fund Awardee (TheatreWorks Silicon Valley), 2023 New Voices in Comedy Writing Fellowship (Killing My Lobster), James Milton Highsmith Award Winner (SFSU), National Ten-Minute Play Festival Finalist (Actors Theatre of Louisville), and Bay Area Playwrights Festival Semi-Finalist (Playwrights Foundation). Resident Artist: Bindlestiff Studio. Member: Dramatist Guild of America, and Theatre Bay Area. MFA, San Francisco State University. @consplayspace

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