What is a stalker? And what kind of life can a woman lead when she knows she is being followed, obsessively and perhaps dangerously, by one? This is the dilemma facing Theresa Bedell, a reporter in New York, in Rebecca Gilman's tensely fascinating new play. When Theresa goes on an awkward blind date with a friend of a friend, she sees no reason to continue the relationship--but the man, an attractive fellow named Tony, thinks otherwise. While Theresa is at first annoyed yet flattered by his continuing attention, her attitude gradually changes to one of fear and fury when he starts violently to menace her and those around her. In brilliantly delineating the kind of terror a woman in full control of her life feels when everything around her suddenly seems to be a threat, Gilman probes the dark side of relationships in the 1990s with the rich insight and compelling characterizations that have distinguished her earlier plays and made her one of the most exciting young playwrights working today. Gilman has received numerous awards for her plays, which include Glory of Living. Boy Gets Girl, which had its premiere in Chicago on March 16, 2000, considers what happens when a blind date turns into a living nightmare. This brilliant and thought-provoking new drama takes us into the life of Theresa, a New York City magazine reporter who suddenly finds herself being terrorized by a stalker after she rejects him. In Spinning into Butter, an unprecedented incident of racism on the campus of idyllic Belmont College, VT, forces Sarah Daniels, the liberal-minded dean of students, to confront her own demons of prejudice and fears while also exposing the shallow minds and insincerity of the other administrators. (An ironic plot twist reveals the significance of the play!s title.) Here, Gilman challenges us to think about the dangers of racism and political correctness. Her skillful use of dialog to create character and move the plot is evident in both of these new plays, which are highly recommended for modern drama collections at public and academic libraries."Howard Miller, St. Louis Copyright 2000 Reed Business Information, Inc. “One of the finest, most disturbing American plays in years.” ― Richard Zoglin, Time “[A] provocative, unsettling play, further proof of Gilman's ability to shake up a theater audience with the power of her ideas--and words.” ― Richard Christiansen, Chicago Tribune Rebecca Gilman is the author of the play The Glory of Living , which received the 1998 American Theater Critics Association's Osborn Award. She is the recipient of the Roger L. Stevens Award from the Kennedy Center Fund for New American Plays, the George Devine Award, the Evening Standard Award for Most Promising Playwright, the Scott McPherson Award, and an Illinois Arts Council playwriting fellowship. A native of Alabama, Ms. Gilman lives in Chicago, Illinois. Boy Gets Girl A Play By Rebecca Gilman Faber & Faber Copyright © 2000 Rebecca Gilman All right reserved. ISBN: 9780571199839 Boy Gets Girl act one Scene one A table in a bar, two chairs . TONY sits alone, a little nervous, waiting for someone. He is an attractive man in his thirties. He is drinking a beer . THERESA enters, a bit hesitant. She carries a big bag, looks a little flustered. They stare at each other for a second.   THERESA Tony? TONY Theresa? (They laugh awkwardly.) Hi. (He rises , offers his hand, she shakes it.) THERESA I'm sorry I'm late. TONY It's okay. THERESA No, I just ... I didn't want you to be sitting here thinking I wasn't going to come. I mean, I wouldn't do that. I tried to call but I can't get my phone to work. They gave me this new phone ... (She pulls a cellular phone out of her bag.) And I don't know. The display thing comes on but then I can't get a dial tone. (She pushes a button , listens, holds it out to TONY.) Do you know anything about these? TONY No. (Takes it, listens.) I don't think it's working. THERESA Anyway, I'm really sorry. TONY It's okay, really. THERESA Well, anyway. Hi. TONY Hi. (Beat.) Do you want to sit down? THERESA Yeah. I think, though, I might get a beer. TONY Let me get you one. THERESA No. It's okay. TONY Let me get you one. What would you like? THERESA Whatever. Just nothing dark. TONY Do you want a Weiss beer? THERESA Is that the big tall one? TONY Yeah. THERESA I don't think so. Just an, you know, an ale or something. (He starts off.) Let me give you some money. TONY No, you can get the next one. Okay? THERESA Okay. (He exits. She sits. The phone rings. She quickly answers it.) What? ... Oh, hey. Don't call me on the phone ... (She looks to where TONY exited .) I lied, I said it was broken and I couldn't call. I was late. (Beat.) Well, I was thinking I wouldn't come. I was just sort of walking around. (Beat.) Look, I came, I'm here, so don't, you know, get all ... whatever. (Beat.) He's fine, I guess. I've been here two minutes. (Beat.) I've