The Seeker

A Play in Two Acts by William Fowkes


He’s looking for God, love, and sex--but not necessarily in that order.



The Seeker is based on my unpublished novel, The Nonbeliever. 


Available for first production and publication

“The play has a plethora of ideas to offer...  I hope many companies will take an interest in it…”

- InterAct Theatre Company, Philadelphia



DESCRIPTION

One man’s spiritual journey spans thirty years and covers a wide arc from a philosophy class at Columbia University to an evangelical Christian summer retreat in Maine, an ashram in India, and the decaying piers at the foot of Christopher Street. Along the way, he achieves professional success, has a wide range of sexual experiences, confronts the fallibility of religious leaders—and embarks on a lifelong tragic obsession with a man who is struggling with his faith’s homophobia. Through it all, he may have learned a thing or two. Just ask Peggy Lee.


THE SEEKER

A Play in Two Acts by William Fowkes


SETTING

Various locations in New York, Maine, India, and Tommy Hamilton’s imagination.


TIME

1972-2000


CAST

8 players

Actor # 1 (male): Tommy Hamilton + Older Tommy Hamilton (Voiceover)

Actor # 2 (male): Christian Barrie

Actor # 3 (female): Molly McCormack

Actor # 4 (male): Professor Brumbaugh, Father Pete, Master (Guruji), Doctor

Actor # 5 (female): Miss Mildred, Speaker, Woman at Taj Mahal, Shrieking Woman, Mrs. Hamilton, Doris Day, Peggy Lee

Actor # 6 (male): Student #1, Johnny Redmond, Initiate #1, Satsangi #1, Man at Taj Mahal, Orderly (Jake), Mr. Hamilton

Actor # 7 (male): Student #2, Initiate #2, Uvi, Satsangi #2, Male Friend at Funeral, Professor X

Actor # 8 (male): Student #3, Mr. Jeffries, Field Worker, Anonymous Man, Patrick




Production Note

The entire play takes place in the mind of Tommy Hamilton, with most of the action occurring in flashbacks. One approach to producing the play is to consider the use of projections to suggest its various settings. (These proposed projections are indicated throughout the script and listed at the end.) A few props and pieces of furniture can be added as necessary. At several points, the older Tommy Hamilton addresses the audience via voiceover. As indicated, the stage is frequently in blackout when this occurs. However, perhaps on some of these occasions—and necessarily throughout the final scene of the play—a hospital bed should appear on stage. The bed should be occupied by a sleeping patient (the older Tommy Hamilton) hooked up to some medical equipment.


SYNOPSIS

ACT ONE

Tommy Hamilton is looking for God, love, and sex, but not necessarily in that order. His spiritual journey spans almost thirty years, starting in a philosophy class at Columbia University in 1972 and moving on to an evangelical Christian retreat in Maine, an ashram in India, the decaying piers at the foot of Christopher Street in New York City, and, finally, a hospital room in 2000 where he confronts his own death while surrounded by visitors that seem to transcend space and time. His lifelong obsession with a man struggling with his faith’s homophobia forces him to question the relationship between gay men and organized religion and spells out the terms of a debate that continues to confront gay people in the 21st century who seek a congenial community in which to explore their spirituality. But in the end, he has to confront the most troubling spiritual question of all: “Is that all there is?”


“…pass along our encouragement for its development.” 

- Ten Grand Productions, NYC


“The concept is fresh & interesting… a set of characters that are mysterious, opinionated & determined to find their place in life… vivid personalities that crash & play off of each other well.…”

- Pittsburgh Public Theater


“…Tommy’s quest for spiritual enlightenment [is] compelling, deftly spanning multiple time periods and locations to examine the nuances of human nature.”

  1. -Arena Stage, Washington, DC



“...an interesting & prescient basis for a play.”

  1. -Walnut Street Theatre, Philadelphia


“...enjoyed...the joyful exuberance and reverence with which the play regards beauty. ... impressed with the quality of [the] writing...”

- The Studio Theatre, Washington, DC