Waiting for the Ball to Drop

Waiting for the Ball to Drop examines the lives of seven friends over six holidays in 2001. The central character, Max, a pot-smoking, cybersex-addicted playwright, is writing the play we are watching; he struggles with issues of intimacy with his lover of 14 years, Bert, a retired financial risk manager looking for the ‘next thing’ in his life. We are introduced to his best friends at a big New Year’s Eve party...

Waiting for the Ball to Drop examines the lives of seven friends over six holidays in 2001. The central character, Max, a pot-smoking, cybersex-addicted playwright, is writing the play we are watching; he struggles with issues of intimacy with his lover of 14 years, Bert, a retired financial risk manager looking for the ‘next thing’ in his life. We are introduced to his best friends at a big New Year’s Eve party: Wally, Patty Rue, Mickey and Mikey, all of them New Yorkers in the arts and food service industries; and all suffering from some form of addiction and stagnation in their lives, despite their jovial, contented masks. Shamus, Max’s ex-roommate and a meth addict/masseur, upends the party, spewing ugly truths as he spirals out of control. The friends stage an impromptu intervention, but Shamus runs out before the stroke of 12, only to suffer a violent gay bashing down in the street. By Valentines Day, Shamus is convalescing with Max and Bert, where he will wind up staying through the end of the year; he lost an eye in the gay bashing, but gained a psychic third eye. Shocking his friends, he reveals their deepest secrets and as well as their futures. By the Fourth of July, tension threatens to rip apart all the relationships. Bert discovers Max’s violent cyber sex addiction and smashes his IMac before heading up to the Catskills by himself, feeling betrayed by his lover. Act One ends on the morning of 9/11: Max is newly sober and doing a sun salutation when the first plane slams into the World Trade Center, directly downtown. Max and Bert stare in shock: black-out.

Act Two picks up immediately where we left off; Max and Bert staring in shock. When Bert runs out to pick up some food for his stranded friends, Max and Shamus have a fist-fight. Despite their differences, all the friends gather in the loft to comfort each other while the world turns upside down. By Halloween, Bert has found a place up in the Hudson Valley, and Max must decide if he is going to move with him, or stay here in the city. By this point, he is finally able to deal with the underlying issues of maternal incest that may have impacted his self-abusive behavior as an adult, and takes the first necessary steps in forgiving her, and himself. A month later, death intrudes upon the enclave of friends; Max and Bert work through their problems and sign a marriage agreement, deciding to stay together, warts and all. By New Years Eve, all the friends move forward in their lives, in small steps, out of stagnation. Max and Bert are packed and ready to move up to the Hudson Valley. Max finds forgiveness for himself, forgives his mother, and embraces the love he has with Bert. He finishes his play, looking out into the future with his friends, as the crowds in the street below count in the new year. Lights slowly fade to black. End of play.

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Waiting for the Ball to Drop

MAX: mid-forties; the playwright; only partially anchored in the real world, he maintains a constant connection to the audience; a stoner with a wild, tangential imagination, and a deep rooted fidelity to several toxic obsessions.

BERT: late forties; Max's lover; a few years older and a decade more mature than his partner. Thick and strong, he takes care of others at the expense of his own needs.

WALLY: mid-forties; Max's best friend; a former actor turned restaurateur, he has a quick, acerbic wit mixed with a functional alcoholism. He makes sure people always have something to drink; he's the perfect host, even in someone else's home.

PATTY RUE: mid-forties; a smart, aggressive wine expert and celebrity chef wrangler, she is a Southern Belle with a saucy mouth, big red hair and a big, inviting bosom; a sexy Aunt Bea.

MICKEY: mid-fifties; a soft-lens combination of Park Avenue heiress, art world maven, and ex-rock-n-roll party chick. A former junkie, she is a sophisticated baby.

MIKEY: mid-forties; a solid, handsome sculptor with huge hands. A childhood friend of Max, he is a Jersey Boy, as well as a former junkie who found salvation in art, and the color black.

SHAMUS: African American; mid-forties; Max's ex-roommate and ex-best friend; in his prime, this man had no peers; but there has been some rough road. A meth addict and masseur.

Development History

  • Type Reading, Organization Follies Company, Year 2018
  • Type Workshop, Organization Half Moon Theatre, Year 2016
  • Type Workshop, Organization The Lark Theatre year long developmental workshop, Year 2014